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MAGIC ROADSHOW JOURNAL OF MAGIC – Special #2

MAGIC ROADSHOW JOURNAL OF MAGIC – Special #2

MAGIC ROADSHOW SPECIAL #2
August 2019

Hello Friends..
Welcome to our second special Magic Roadshow. We are going to continue to publish specials until readers email and ask us to please stop.. I like this ‘special’ thing as I don’t send out a Roadshow on a schedule. I can wait until I feel there is enough good material to make it worth everyone’s time.. mine included. This is one of those times.

I thought about writing some enticing reviews of the just passed MAGIC LIVE.. but I didn’t go.. so that was definitely a drawback. I think Scott Wells posted daily reviews to his MAGIC WORD podcast, and one of my closest magic buddies, Marty Shapiro, sent me daily updates and insights for my personal enjoyment.. but, you guys, if you didn’t go, are basically out of luck. Sorry. Go next year..

Summer is here in South Carolina.. it’s hot as hello, and there’s nothing else to say. Actually, that’s all I can say.. per my injunction – courtesy of The Weather Channel…
Also, even though Fall is upon us, there will be NO football scores this year or pumpkin planting tips… thanks to my ‘buddies’ at ESPN and HGTV respectively..

I want to take a moment to thank some friends who helped make this issue so special with their brilliant contributions:
Christopher M. Reynolds, Donavon Powell, Julie  Eng, Teller, The Burnaby Kid, Kyle Peron, Michael Lyth, James Rock, and Murphy’s Magic.

Also, a special thanks to Paul A. Lelekis, Jim Canaday, Marty Shapiro, and Greg Phillips (who succeeded James Brown as the hardest working man in show business…) for their continual inspiration. Jim Canaday just published the 100th issue of his masterful ezine.. The Magic Portal. I have shared many a resource with you guys and ladies lifted from the Magic Portal… and Jim can’t claim innocence of sharing ours. In other words.. we share found resources. Join The Magic Portal at:
themagicportal@gmail.com or visit the site at: https://themagicportal.us/

Please remember.. The Magic Roadshow is a FREE publication and does not accept, or solicit, donations. However.. if you want to remember me in your will – that’s OK.

I am now available for lectures here and abroad.. My fees are considerably less than a root canal.. unless I am scheduled for a root canal.. in which case my fees are the same as a root canal. Just kidding….. I’m not available for lectures.
( Unless you book through my wife… She booked me on a tour of clubs in Denver, Chicago, and finally Buffalo. I was gone for a solid week.. and would you believe not a single club had ANY record that I was scheduled to appear. I can’t believe their sloppy bookkeeping.. geesh..
One good thing did come out of all this; when I got home a few hours early, a strange man had broken into my home and was sitting on my couch. He ran out the back door.. but didn’t steal anything. My wife was in the bedroom and could have been accosted had I not arrived when I did … So, I’m quite the lucky guy !! )

That does it for this intro.. Remember, always be kind to others and give of your time and yourself generously.. Give blood if you have the opportunity… although the last time I tried to donate blood, they wouldn’t take it. They asked too many stupid questions.. like “ Whose blood is this and where did you get it?”..

** Want to sign up for your personal notification of every new Roadshow? Text ROADSHOW to 42828 … You will be prompted to enter your email, and that’s it..!! Absolutely No spam and 1 click unsubscribe.

Questions and Comments: Rick@MagicRoadshow.com

**DOWNLOAD THIS ISSUE AS A PDF
This issue is 63 pages and 19,077 words…

https://magicroadshow.com/wp-content/uploads/2019/08/Magic-Roadshow-Special2.pdf

______________________
TABLE OF CONTENTS

• Colonel Stodare & The Riddle Of The Sphinx – Christopher M. Reynolds

• Return of the Mind-Reading Chicken – Effects – Donavon Powell

• Chameleon – Effect – Rick Carruth

• The Magic of Johnny Thompson – Excerpt – Teller (Jamy Ian Swiss)

• Behind the Scenes With Johnny Thompson – Article

• Jamy Ian Swiss and The New Yorker – Article

• Festivals – Be A Solutions Provider – Article – Kyle Peron

• King Con – An Effect – Christopher M. Reynolds

• Count Victor Lustig List… Further Reference…

• The Gentle Grafter – Free Download – O’ Henry

• The Gentle Grafter as an Audio Book – Free

• Houdini – The Right Way To Do Wrong – Rare Free Ebook

• The Right Way To Do Wrong – Audio Book – Free

• The Burnaby Bluff – Effect – The Burnaby Kid

• At The Table Live Lecture – Erik Tait – A Review – Donavon Powell

• Rick Lax Podcast – The Magic Word

• How Rick Lax Magically Pulls in Millions of Facebook Views – Article

• A Quarter-Century of Recreational Mathematics – Free PDF

•The Vault – Heavens Aces by Chris Randall – Review – Rick Carruth

• 11 TOUCH – By LongLong – A Review – Rick Carruth

• How to Vanish Any Card Instantly – Video Tutorial – Alex Pandrea

• Dice Stacking Without A Cup – DIY Utility Device – Michael Lyth

• VANISH MAGIC MAGAZINE #61 – Free Download

• Three Free Magic Apps – For Roadshow Readers – James Rock—

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Never attribute to malice that which is adequately explained by stupidity…   Hanlon’s razor..

I am fond of pigs. Dogs look up to us. Cats look down on us. Pigs treat us as equals.”   Winston S. Churchill

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Colonel Stodare & The Riddle Of The Sphinx
By Christopher M. Reynolds

The Roadshow is pleased to present, for the first time anywhere, the wonderful and colorful story of one of the most memorable magicians ever… England’s Colonel Stodare.

On April 17, 1865, Colonel Stodare, an unknown performer from Liverpool England, made his debut on the London stage at Egyptian Hall (a popular theatre catering to conjuring acts). His posters promised two hours of “East-Indian Magic.” He wouldn’t stay unknown for long. Colonel Stodare took the stage that night unaware that he was about to make history.

In his opening address to the audience, he claimed to perform without the aid of the superfluous apparatus that was popular amongst 19th-century stage conjurers. There would be no exotic vases, elaborate drapery, mechanical automatons, or any other cumbersome gizmos, gadgets, or contraptions sharing the stage with him. Instead, he used simple, everyday props like freshly laid eggs, vibrant silk scarves, wicker baskets, wooden tables, and items borrowed from the audience.

Before the small but astonished crowd, the elegantly dressed magician, clad in a black swallow-tail coat, double-breasted vest,stove-pipe pants, and a waxed mustache, entertained his audience with original versions of ancient Hindu illusions. These “miracles” had been performed for centuries by the mysterious religious shaman, known as fakirs, in India.

India was an almost mythic country to the citizens of Victorian England, and the tales associated with it hovered somewhere between fact and fiction. The mere name of India conjured up images of the British army, spicy curries, Bengal tiger hunts, the murderous Thuggee cult, and legends of mysterious illusions, like the Indian Rope Trick, performed by the holy fakir street performers. But, at Egyptian Hall that evening, reality imitated art as Colonel Stodare brought to life tricks based on fairy tales that were strictly the provenance of old Bangladeshi village women and drunken English sailors on shore leave. And, it all happened right before their very eyes.

First, he indulged the spectators with a deft display of sleight-of-hand artistry. One of his signature effects consisted of an egg and a silk handkerchief (the former placed in a glass tumbler on a table, and the latter held in the hands of the performer) being made to change places. Then, an adaptation of the classic mango tree illusion entitled, “The Instantaneous Growth Of Flowers.” The title of the illusion said it all: a rose seed was planted in a pot of soil and covered with a colorfully decorated cardboard tube. When the cylinder was removed, a fully grown rosebush, instantaneously, had sprouted. As an interlude between tricks, Stodare would perform acts of ventriloquism.

For his grand finale, he performed the infamous, “Indian Basket Trick”. Stodare dragged his lovely assistant, the real-life Mrs. Stodare, onto the stage. In a fit of mock rage over some minor trifle, he forced her into a low, oblong wicker basket. Bone-chilling screams reverberated throughout the tiny theatre as he pierced her body by thrusting multiple swords through the basket from every angle. The fashionable and sophisticated London audience gasped and tittered with delight as he pulled the blades back out… covered in red, dripping blood. He then tipped the basket over and removed its cover to reveal that the screaming, bloody mess, that was once Mrs. Stodare, had disappeared, only to reappear a moment later standing in the back of the audience, alive and in one whole piece.

It was the first time in magic history that an English conjurer had ever performed these celebrated East-Indian classics of illusion on a western stage. In a little over a year, after such an auspicious debut, and, on the verge of becoming a household name, Colonel Stodare, would be dead.

So just who was Colonel Stodare? We know for sure that he had never commanded a battalion of red-coats, as his title would suggest, nor had he ever smelled that explosive mixture of sulfur, charcoal, and saltpeter, commonly known as gunpowder, in the heat of battle. Stodare had never seen, heard, or smelled the sights of India outside of his own imagination. The title of Colonel was self-assumed and meant to imply an adventurer or explorer of foreign mysteries. The clever monicker was pure unadulterated showmanship to bedazzle the English public.

Colonel Stodare was the derived stage name of Joseph Stoddart. He was born in Liverpool, England on June 28, 1831. Little or nothing is known of his early life or education. His father, Joseph Sr., was born in Cumberland and moved to Liverpool sometime around 1810. There, he married a local girl named Priscilla Woods. She had given birth to Joseph’s older brother, Alfred, six years prior. The boys shared features so similar, almost twin-like, that there was constant confusion between the two. This mirror-like resemblance would help cause a feud that wreaked havoc on the pair’s relationship.

Joseph, Sr., was a letterpress printer by trade and the brothers grew up reading the many newspapers and broadsheets to which he contributed. He also printed theatre posters and programs for the numerous magic shows, waxwork exhibits, hypnotism displays, circuses, seances and other popular entertainments advertised to Victorian audiences. This early exposure to conjuring helped lead the boys into the exciting world of theatrical magic.

It was Alfred Stoddart that first became an amateur conjurer, performing under the name of Alfred Inglis. He taught Joseph his early tricks and soon let his younger brother join his small act as a ventriloquist, while Alfred performed the magic. Joseph was now called Jack English, and the pair renamed themselves “The English Brothers.”

Alfred soon realized that his younger brother seemed to be a natural at conjuring. He could be suave, funny, charming, and had a dramatic stage presence. While only in his teens, he began to create his own illusions. His artistic gifts didn’t seem to stop there. Skilled with the written word, he began writing a column on magic tricks for a magazine aimed at young boys. All in all, as a magician, he was everything that his older brother wasn’t.

Alfred begrudgingly stopped performing and focused his attention as stage manager for his brother, who now was performing under the name, Mr. Stoddart. His first known solo performance was in 1850 in his hometown of Liverpool. While immensely talented, he had met with indifferent success as an itinerant performer. He was just one of the hundreds of magicians trying to make a name for themselves. Almost all the notable Victorian illusions were performed again and again by a score of performers. Box tricks, basket tricks, inexhaustible bottles, and instantaneous bouquets were seen everywhere throughout the whole of Victoria’s reign, and well into the twentieth century, too. There was nothing original about his act, until 1860, when things took an abrupt turn for the exotic.

Magic shows were one of the most popular entertainment attractions for the English populace in the 1800s. Shows were performed widely, in the back rooms of taverns, fairground tents, music hall stages, and a wide variety of other venues, bringing the popular entertainment of the day to mass audiences for the first time. Victorians also liked to drink and they lived in a society geared toward alcohol consumption. When not performing at community picnics, church socials, or for vacationers at local seaside resorts, Joseph played the dizzying array of rowdy gin palaces, beer halls, restaurants, oyster bars, dram shops, refreshment rooms and public houses that Liverpool had to offer. Drinking went on from dawn till dusk, and every hour in-between. Alfred had even begun to develop an unnerving fondness for hard liquor.

Joseph was often performing for rough crowds of pissed drunk sailors, soldiers, travelers, dock workers, and run of the mill inebriates. They’d sometimes show their appreciation for his art by throwing unpleasant substances and objects at him mid-performance. After the show these boozed hooligans would buy him and Alfred drinks; regaling them with stories of magical street fakirs who they witnessed performing grisly illusions on their tours through India; the type of things that a proper Englishman wouldn’t be caught dead doing: ramming metal spikes up their nostrils, eating shards of glass, handling poisonous cobras with their bare hands, swallowing swords down to the hilt, and sleeping on beds of nails.

Joseph and Alfred were transfixed by the dreamy tales. The stories of these tricks and the miracle-mongers who performed them were beginning to make the standard Victorian stage conjuring that the two had been practicing for years seem absolutely dull in comparison. How could making a birdcage disappear up your sleeve compare to the thrills of watching someone walk barefoot on burning coals without receiving even the tiniest blister? These were considered wonders to never be witnessed by human eyes outside the confines of India…until now.

For the next five years Joseph took those old travelers tales of Hindu miracle men and turned them into a stage act that was like no other magicians around. No longer would he be entertaining under the boring nom de plume of Mr. Stoddart, performing the popular generic conjuring tricks of the day. That persona had been replaced by something more dashing. Joseph’s new character was a bold and intrepid adventurer; a military mountebank going by the name of “Colonel Stodare”, performer of “East- Indian miracles”.

In Victorian-era England, Sir Richard Francis Burton was a national celebrity. He was an adventurer; spy; poet; linguist; and Victorian renaissance man, who had translated the erotic sex manual The Kama Sutra and the 1,001 Tales Of The Arabian Nights for English speaking audiences. The British public couldn’t get enough of him and his lusty and daring exploits. He set off a craze for all things foreign and mysterious. The true-life tales of Burton’s escapades along with the stories of the Indian fakirs magic tricks had planted a seed in Joseph Stoddart’s brain that would lead to him becoming, if only for a brief shining moment, one of the most original and innovative magicians in the history of the art.

Joseph had been performing constantly for fifteen years; five of those years spent fine-tuning his new, and mysteriously exotic, act. Now, he was ready. Like the battle-hardened soldier that he wasn’t, he geared up to make his march on London and perform at the mecca for professional magicians: Egyptian Hall. He packed up his props, his brother Alfred, and his new wife (who had joined the act despite Alfred’s protest) and Stodare & company descended upon the conjuring capital. They were ready to compete, head to head, against any act that got in their way.

Egyptian Hall, located in Piccadilly, was to magic what the Fillmore West in San Francisco was to psychedelic rock; the two were synonymous. Londoners associated the place with conjuring attractions and it came to be affectionately known as “England’s Home of Mystery”. It was built in1811 by an eccentric collector named William Bullock and was constructed as a sort of museum for his amassment of natural, historical and medical curiosities. The outside of the sandstone building, covered in smoke and grime, was adorned with faux Egyptian sculptures and hieroglyphics. The inside offered lecture halls and theatres on several floors. It had been host to many many magicians in its long history. They featured their first full-length magic show in1861. That performance was soon followed by a never-ending stream of conjurers, minor and major. It was demolished in 1905.

Playing alongside Colonel Stodare, in an adjoining theatre, was the “Wizard Of The North”, John Henry Anderson. He was most famous for being one of the first recorded magicians to ever pull a rabbit from a top hat. Andersons traveling magic show had been one of the biggest entertainment extravaganzas in the world, rivaling a P. T. Barnum circus in size. He spent money lavishly on elaborate spectacles to draw in huge crowds.

Now, at age 51, he was bankrupt and alone. The days of mindless extravagance were over. His handcrafted gold and silver apparatus had been replaced with gaudy brass and tin props. Circumstances forced him to play a small 100 seat theatre in Egyptian Hall to make a living. Unbeknownst to Anderson, this string of bad luck that was plaguing him was going to change the course of magic history and help set Colonel Stodare on the path to momentary mega-stardom.

Joseph Stoddart was full of what the English called “pluck”, meaning the courage and ability to take all challenges head-on. He had gambled on his talents and had sunk every last coin he had to rent out the small theatre in Egyptian Hall. But, he was confident in his heart that his show was something special. The act was attracting small but steady crowds who had came to see, via word of mouth, the gruesome Indian Basket Trick finale of his show. But profits were questionable and the whole enterprise seemed to be on the verge of becoming a noble failure. The mental and physical stress started to take its toll. Alfred began to drink heavily. He’d regularly down two whole bottles of port wine before retiring to bed. Joseph and his new bride had begun to bicker frequently. He had also begun to get sick often and was beginning to develop a terrible cough.

Joseph needed to turn things around fast. Desperate for cheap publicity, Joseph began spreading a rumor that his competition, the past his prime, John Henry Anderson, was, in fact, his father. Gossip soon spread that Stodare was his illegitimate, abandoned son and that the two were consumed in a family rivalry. The stunt only helped attract more people to Anderson’s show.

Joseph quickly realized that the basket trick was just too bloody and violent to attract a mass audience. What he needed was a new illusion that would grab London by the throat. Serendipity decided to step in and lend him a helping hand. The solution to his problem came in the form of a young man named Thomas Tobin.

The Victorian era was Magic’s first true Golden Age. The level of creativity the art experienced was at an all-time high. The Industrial Revolution helped usher in illusions on the cutting edge of science and technology, combining newly discovered mechanics with old-world craftsmanship. Stage magicians warmly embraced these new advancements in their art. To quote science fiction writer, Arthur C. Clarke, “Any sufficiently advanced technology is indistinguishable from magic.”

Thomas Tobin was a child prodigy. At age fourteen, he was a licensed architect and chemist. By the time he reached twenty years old, he had become the youngest lecturer at the London Polytechnic. In his free time, the young man called on his scientific background to invent large size illusions for stage magicians.

John Henry Anderson later regretted having turned down the opportunity to buy the young scientists latest invention. Tobin knew that Anderson had hit hard times and was certain that his wonderful new stage illusion would put the old showman back on top. All it needed was the tweaks and touches of a true artist to bring it to life. Anderson was too poor to pay the 80 pounds asking price that Tobin was charging. It was another tough break for the hapless magician.

Tobin then offered to sell the illusion to Anderson’s competition, Colonel Stodare. Even though the magician was hemorrhaging money, he bought it immediately. On August 1, 1865, Tobin and Stodare filed a joint patent on the new design in a London courthouse. Joseph knew instinctively that this was exactly the illusion he had been waiting for, and that he was the perfect choice to present Tobin’s scientific miracle as it was meant to be seen.

What exactly was this illusion that genius Thomas Tobin had invented? What was so fabulous about it that Stodare risked what little money he had left to buy it?

It was an optical formula for invisibility on-stage. Colonel Stodare was now the only magician in the world to know the secret.

For weeks, mysterious show bills had been plastered all over London, and a full-page advertisement was featured on the cover of the London Times. The announcement read: The Sphinx has left Egypt. A week later, the cryptic message changed. A new series of ads appeared, touting: The Sphinx has arrived and will soon appear.

On the night of October 16, 1865, a thick gloomy fog had enveloped London with a supernatural embrace. A mob of people queued up in the evening chill waiting, yellow tickets in hand, to be permitted entry into the ersatz Egyptian temple. It was to be the premiere of Colonel Stodare’s Sphinx Illusion. The event was to mark the conjurer’s 200th consecutive appearance at Egyptian Hall. Stodare’s carefully orchestrated publicity campaign had worked wonders. The theatre was packed on the first night as the massive crowd jostled into the auditorium. It was as if the ancient cults of Isis or Osiris had been revived, as the long line of worshippers filed in, taking their seats in this modern-day sanctum to witness this puzzling event. The small theatre held only a couple hundred people, but on this night, the room was filled shoulder to shoulder with curious onlookers; more than double the size of his normal attendance.

The London Times (October 19, 1865) described the spectacle as follows:

“Most intricate is the problem proposed by Colonel Stodare, when, in addition to his admirable feats of ventriloquism and legerdemain, he presents to his patrons a novel illusion called the Sphinx. Placing upon an uncovered table a chest similar in size to the cases commonly occupied by stuffed dogs or foxes, he removes the side facing the spectators and reveals a human head attired after the fashion of an Egyptian Sphinx. To avoid the suspicion of ventriloquism, he retires to a distance from the figure, supposed to be too great for the practice of that art, taking his position on the border-line of the stalls and the area, while the chest is on the stage. Thus stationed, he calls upon the Sphinx to open its eyes, which it does to smile, which it does also, though the habitual expression of its countenance is most melancholy, and to make a speech which it does also, this being the miraculous part of the exhibition. Not only with perspicuity but with something like eloquence, does it utter some twenty lines of verse; and while its countenance is animated and expressive, the movement of the lips, in which there is nothing mechanical, exactly corresponds to the sounds articulated.

This certainly is one of the most extraordinary illusions ever presented to the public. The speech is spoken by a human voice, there is no doubt, but how is a human head to be contrived which, being detached from anything like a body, confined in a case, which it completely fills, and placed on a bare-legged table, will accompany a speech, that apparently proceeds from its lips, with a strictly appropriate movement of the mouth, and a play of the countenance that is the reverse of mechanical. Eels, as we all know, can wriggle about after they have been chopped into a half dozen pieces; but the head, like that of the physician Douban, in the 1,001 Arabian Nights tales, pursues its eloquence after it has been severed from the body, scarcely comes within the reach of possibilities. The old fashioned assertion that King Charles, walked and talked a half an hour after his head was cut off, is to be received, not as an illustration of defective punctuation, but as a positive historical statement. Davus might have solved the Anthropoglossus, but Colonel Stodare presents us with a Sphinx that is really worthy of Oedipus.”

Three sides of the stage were concealed by curtains. Stodare entered, carrying a small box which he placed on a three-legged table. The front of the box was hinged and opened to reveal a human head wearing an Egyptian headdress; its eyes shut. Stodare waved his wand and spoke in a commanding tone, “Sphinx, awake!”

The head slowly opened its eyes, as if gradually gaining consciousness. It looked first to the front, then to one side and the other. With a strong gaze, it peered back at the hundreds of dumbfounded eyes. The Sphinx’s lips turned upwards into a broad smile. Under the instructions of Stodare, the head began to answer questions. At one point it recited twenty lines of poetry. Eventually, it closed its eyes and Stodare shut the box. The audience thought the trick had reached its finale and shouted for an encore. Stodare calmly addressed the onlookers:

“Ladies and gentlemen, I am glad that the Sphinx has afforded you satisfaction, and I should only be too pleased to be able to indulge the desire which you kindly testify of seeing it again. Unfortunately, this is not possible. The charm by which I am enabled, as you have seen, to revivify for a moment the ashes of an ancient Egyptian, who lived and died some centuries ago, lasts but for fifteen minutes. That time has now expired, and the head which has astonished you with its mysterious eloquence has again returned to its original dust”.

As he finished the last words of his speech, he reopened the box. The head had vanished, leaving in its place a handful of ashes. Loud gasps of recognition swept through the theatre. Carrying the auspicious box to the footlights, Stodare looked out over his audience. The throng of theatergoers sat motionless as if holding their breath. Their mouths were agape as they greeted the performer with momentary stunned silence.

The crowd was astonished by the surreal sketch that they had just witnessed. The bewilderment it created was sweeping. Onlookers were jolted out of their trance as a single pair of hands slowly began to clap. The remainder of the crowd, still marveling, slowly began to applaud in unison until the noise became deafening. The walls of Egyptian Hall vibrated with the ovation.

As Joseph, his wife, and Alfred celebrated their accomplishment that evening, Joseph began to have one of his now regular coughing fits. He brought a white cloth handkerchief to his mouth as he violently hacked and wheezed. When the coughing fit was over, the snow-white handkerchief was speckled with blood. He had always been in delicate health since childhood, but this was no normal illness brought on by fatigue. This was evidence of what Joesph had begun to fear most. He had contracted tuberculosis.

Despite the disturbing medical news, Stodare had much to be happy about. His 80 pounds gamble had paid off. The new illusion began to attract crowds at once. After working six months without a break, and on the verge of giving up, his groundbreaking theatrical venture had become a financial success. After 15 years of paying his dues, Colonel Stodare was now an “overnight success.”

The Sphinx astonished London audiences. Debates raged around the city as to how the effect was accomplished. From the dingiest pubs to the most high-class literary salons, Londoners from all social classes chimed in with an opinion. It was suggested that the head was an automaton and that Stodare, a ventriloquist, was throwing his voice. An article in the satirical magazine PUNCH,( a Victorian-era version of The National Lampoon or The Onion) claimed to reveal the mystery of the trick. It humorously alleged that the secret lied in the use of a drunk and belligerent assistant hiding beneath the table. The spoof article hit closer to the truth than they could have imagined!

Alfred’s alcoholism had begun to cause a lurking unease in Joseph. He was constantly drunk. He would stumble into rehearsals reeking of gin and sweat, thus getting sloppy in his behind-the-scenes duties. To pick up the slack, the now successful Stodare sent for a fellow magician in Liverpool named Firbank Burnham to act as a sort of protegee. Alfred became resentful of his diminishing role in the act as his brother relieved him of his stage manager duties and demoted him. An old show business proverb states, “There are no small parts, only small actors.” From that point on, Alfred would be acting in the smallest part in the show. He would now be playing the role of the Sphinx. Joseph tried to soften the blow as best he could, reminding Alfred that, as playing the Sphinx, he had the most crucial part in the success of the show. To Alfred, he was now nothing more than a head in a box.

If you’ve ever heard the expression, “Its all done with mirrors,” you know now that this is the trick that prompted the expression. Its an explanation for illusions frequently offered by audiences. This is normally as inadequate an explanation as “Its up his sleeve!” for sleight-of-hand performances. In this instance though, they would be right.

In reality, mirrors were fixed between the slender table legs. They were placed at a 45-degree angle so that the reflections of the curtain sidewalls appeared to the audience that they had a clear view behind the table. Stodare approached the console from the front so that his legs didn’t appear in the mirror. Alfred, concealed by the V-shaped mirrors, was able to crouch beneath the table and put his head through a trap door and into the box to transform into the Sphinx.

Along with the box office receipts from the Egyptian Hall shows and private engagements too plentiful to count, financial worries were now a thing of the past. Just when they thought that things couldn’t get any better, Colonel Stodare and his mysterious Sphinx were cordially summoned to Windsor Castle by none other than Queen Victoria herself. A small advert in the London Times read:

“STODARE- 363rd REPRESENTATION
Theatre of Mystery, Egyptian Hall
MARVELS in MAGIC and VENTRILOQUISM as performed by command before Her Majesty, the Queen, and the Royal Family at Windsor, Tuesday evening, Nov. 21, 1865. The marvelous SPHINX, the Birth of Flower Trees, and Stodare’s celebrated, “Indian Basket Feat,” as only performed by him. Every evening at eight; Wednesday and Saturday at Three. Stalls may be secured in advance at the box office, EGYPTIAN HALL, open daily from 10 till 5; and at Mitchell’s, 33, Old Bond Street—Admission, 1s., 2s,; stalls 8s—” Almost miraculous.”–Vide “Times.”

The Queen was known in magicians circles to be an avid fan of the conjuring arts. Over the years she hosted several command performances by various entertainers, (as an interesting side note, Prince Charles was inducted into the Magic Circle, a conjurers fraternity, in 1975 when he performed his version of the classic cups and balls trick.) Twelve years prior, she had hosted Colonel Stodare’s rival, John Henry Anderson. She now wanted to see for herself the mysterious illusion that had perplexed all of London. One of the cardinal rules of performing magic is to never, ever, ever repeat a trick to the same audience. Colonel Stodare gladly broke that commandment when, in compliance with a request from the Queen, he performed the Indian Basket Trick and the Sphinx Illusion twice.

While Stodare and the rest of the troupe were performing for the Queen, Alfred was left behind, drunk, and in a state of brooding melancholy. The command performance was too important an event to take the risk. The reputation of the act wouldn’t survive if there were any drunken mishaps at Windsor Castle. There was bad blood now between the brothers, and it was about to get worse…much, much worse.

After the news of the successful performance at Windsor Castle, Stodare was flooded with exclusive engagements of all types:

“STODARE—NOTICE—The usual representation at eight o’clock WILL NOT BE GIVEN THIS (Saturday) EVENING, Colonel Stodarehaving been honored by a command to appear at Marlborough House before H.R.H. The Prince Of Wales. The afternoon representation will take place as usual at the Egyptian Hall at three o’clock.”

As his success grew, so did the complications of tuberculosis. His coughing fits were becoming just as blood-soaked as the climax to his Indian Basket Trick. He finally confided in his older brother about his severe illness. Alfred’s response to this serious news was to ask Joseph if he could take over the act after his brother had died. Joseph was livid and told him no. He then informed him that he had been secretly grooming Firbank Burnham to take over the act at the time of his passing. Alfred felt betrayed. The next day he packed up his belongings and left for good. It was the last time he would see his brother Joseph alive.

Alfred Stodare had revived his former magic act, bringing Alfred Inglis out of retirement. He dusted off his old tricks and took them on tour through the provinces. Some of the venues he played could hardly accommodate ten people. He was lucky to get crowds half that size. One night after another disastrous performance, an audience member mistook Alfred for his brother, Colonel Stodare. This case of mistaken identity would set the wheels in motion a cunning plan. Just when Alfred thought he had sunk as low as he could go, he embarked upon a criminal act that would sever ties with his brother permanently.

One morning, as Colonel Stodare entered Egyptian Hall hall to prepare for the afternoon performance, he was greeted with a quizzical look from one of the theatre’s staff members. “Back so soon?” they asked. He thought nothing of it as he entered the auditorium. It was then and there that he received a shock worse than his tuberculosis diagnosis. The theatre was completely empty. All the props to his show had vanished. As he interrogated the Egyptian Hall staff, the clues they offered brought the perpetrator of the crime into focus. Alfred, a doppelganger for Joseph, had snuck into the Egyptian Hall in the wee hours of the morning and looted the theatre. The staff had thought nothing of it. They just assumed that it was Colonel Stodare.

His brother, and partner in magic since childhood had stolen everything. But props weren’t the only thing that Alfred had snatched. Alfred had also swiped Joseph’s stage name, Colonel Stodare. He then began striking out on his own to capitalize on his brothers’ notoriety. There was plenty of money to be made after the glowing reviews of Joseph’s command performance for Queen Victoria.

Alfred toured the small country towns, far from the seething metropolis of London, playing tiny theatres. He’d plaster the small hamlets that he tramped through with inaccurate posters touting his show. He was attempting to dupe the public into thinking they would be seeing the real Colonel Stodare perform the same tricks which were presented at Windsor Castle.

An employee from Egyptian Hall had discovered Alfred’s ruse. The furious Joseph took out adverts in many provincial newspapers denouncing Alfred and the stage show. He warned that an impostor was misleading the public into thinking they would be seeing the real Colonel Stodare. Alfred, aware of Joseph’s campaign against him, fled as far away from London as he could. He beat a hasty retreat, traveling 232.8 miles away from the watchful eye of his angry brother, to Brussels, Belgium, where he carried on using Joseph’s act…along with his identity.

The stock in trade of any conjurer consists of lies and electricity. A magician must be an exceptional liar. And the magician, in many ways uses the same exact approach as a confidence man. But, there’s a fine line between the art of the conjurer and the art of the con. Somewhere along the way, Alfred made the switch from being a magician, practicing the art of honest deception, and crossed over into the opposing camp. He was now nothing more than a common grifter. Based on news clippings from his brothers’ sold-out show in London, he was able to swindle investors out of the necessary money to open his own theatre in Belgium.

The feud between the two brothers would never get the chance to be reconciled. Soon after his debut in Brussels, his brother Joseph would be dead. This is one of the last newspaper adverts (May 4, 1866 ) to run before his untimely passing:

“STODARES -419th- REPRESENTATION, Theatre Of Mystery, Egyptian Hall. Stodares celebrated MARVELS of MAGIC and VENTRILOQUISM, as performed by him by command at Windsor Castle, before H.M. the Queen, November 21, 1865, and twice before H.R.H. The Prince of Wales, June 6, 1865, and March 10, 1866. The new sensation, the “Marvel Of Mecca”, the Sphinx, and Stodare’s celebrated Indian Basket Feat EVERY EVENING at 6; Wednesdays and Saturdays at 8. Stalls may be secured in advance at the box office, EGYPTIAN HALL, open daily from 10 till 5; and at Mitchell’s, 33, Old Bond Street—Admission, 1s., 2s,; stalls 8s— “Almost miraculous.”–Vide “Times.”

As Colonel Stodare was packing for an exclusive engagement in Paris, his lungs collapsed, due to complications from tuberculosis. As he lie on the ground suffocating, his life flashed before his eyes. It was glorious! Joseph Stoddart, aka Colonel Stodare, had scaled a peak that the average magician dare not climb, and, just like that, it was over. What the Gods giveth, the Gods can taketh away. He had left Liverpool unknown and was now leaving this earth to take his place amongst the stars in Heaven.

His widow carried on the act briefly under the name of “Madame Stodare”, with the aid of Firbank Burnham. An announcement in the London Post (December 12, 1866) read:

“Madame Stodare”, widow of the late Colonel Stodare begs to announce that the theatre of mystery, Egyptian Hall, is OPEN for the season. “Madame Stodare’ will present the “Sphinx”, “Marvel Of Mecca” and the “Indian Basket Trick” assisted by Mr. Firbank Burnham( pupil of the late Colonel Stodare), in Colonel Stodares royal entertainment of magic. Doors open every evening at 7:30; Wednesday and Saturday mornings at 9:30. Admission is 1s. and 2s. Stalls 8s. Schools and children half-price. Seats may be secured at the box office from 11 till 6 and at Mitchell’s, 33, Old Bond Street—Mr. James Weaver, manager”

Both “Madame Stodare” and Firbank Burnham eventually faded into obscurity.

After news of Joseph’s death, Alfred returned to England and continued to take his purloined version of his brother’s famous act around the country. His alcoholism had taken a heavy toll. He had hired a ragtag assortment of fellow problem drinkers to play the part of his assistants. Since the show was barely making money, he was forced to pay his entourage in the form of rotgut gin. The once astounding show had become an embarrassment. It was the beginning of the end for Alfred Stodare. He had become what Prime Minister Benjamin Disraeli would have referred to as an “arch mediocrity.” His final performance was in the small town of Ormskirk, where he played the town hall on August 2, 1867. The show was a complete disaster.

The unsatisfied spectators caused a variety of problems. The public was charged an exorbitant fee to witness the sad spectacle. They watched incredulously as Alfred and his lackeys stumbled and slurred their way through the performance. Perhaps they felt the need to get the most show for their money. A group of unruly youths had crept up close to the edge of the stage, took aim and began to assault Alfred and the Sphinx with paper pellets. They laughed wildly as Alfred blathered his way through the onslaught as if nothing was happening. The Sphinx broke character and began to hurl expletives in a thick cockney accent. Things got far worse.

A few stray wads of paper landed against the mirror. The pellets bounced, fell to the floor, and were doubled by the reflections in the glass, exposing the secret of the illusion. The crowd left the town hall howling with laughter. Soon, other performers were copying the effect, as the secret of the sphinx became public knowledge amongst magicians. Then, as weeks gave way to months, the illusion that had once been on the tip of every tongue in London had become yesterday’s news. The fickle public soon gravitated towards other magicians with newer illusions.

Alfred’s body was found weeks later in an empty room in a decrepit London boarding house. Lying next to him were three empty bottles of gin and a copy of his late brother’s posthumously published book “Colonel Stodare’s Fly Notes; Or, Conjuring Made Easy.”

Not unlike the legendary blues guitar player Robert Johnson, there are only two known pictures of Colonel Stodare in existence. One is a hand-drawn profile portrait. The other is a photograph of him standing next to his famous illusion “The Sphinx’. Magician Ellis Stanyon secured the pictures of the mysterious Colonel in 1901, claiming in a short newsletter article he wrote: “The photo and the sketch had come to be secured at not some little trouble and expense. They are probably the only pictures in existence, but we feel amply repaid by being able to place, permanently on record, the main events in the life of such an illustrious magician as Colonel Stodare.”

In 2002, across the pond in America, the ghosts of Stodare and his Sphinx Illusion were resurrected, hovering like specters at an exhibit entitled: “Magic; the Science Of Illusion” at the science museum in Saint Paul, Minnesota. There, a modern version of Thomas Tobin’s formula for invisibility was put on display to teach about the science of optics behind famous illusions.

Like the finale of his famed Sphinx Illusion, the name Colonel Stodare, the story of his rise to the top, and his tragic death are now a pile of ashes. His name now is nothing but dust in the wind, but his legacy to the art of magic has been documented in one obscure book: Professor Hoffman’s Modern Magic, published in 1876. It revealed the secrets behind three of Stodare’s tricks: the egg & silk trick, the Indian basket illusion, and a detailed chapter on the Sphinx. The book has been in print for 143 years. As long as it continues to live amongst each succeeding generation of magicians, so will the name of Colonel Stodare.

Christopher M. Reynolds

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Effect Break: Return of the Mind-Reading Chicken
Donavon Powell

Not one.. not two.. but three different turns on a classic effect first shared by Lamont Ream and Michael Ammar. Creativity in spades!

I think it is high time for me to drop an Effect Break in amongst Reviews and Articles. I would like to share with you Return of the Mind-Reading Chicken.

Wait. What? I am not really going to call it that am I? Oh. Apparently I am. Carry On.

Many years ago I learned The Mind-Reading Chicken from Michael Ammar’s Easy To Master Card Miracles Volume Seven.

This is a Routine from Lamont Ream that was changed a little for the Ammar series, and in it a selected card was revealed in a very cool manner utilizing an egg. I am not teaching that. However, I always liked it. Additionally, I like to take things out to the ridiculous. Sometimes this is a thought exercise and other times it is to see why it should not be done. In this case I think it may be a little of both.

In this Effect Break I will be discussing history, development, and three setting based versions of Return of the Mind-Reading Chicken.

Still with me?
Awesome.

So what is Return of the Mind-Reading Chicken I hear you ask (Well… I don’t. The Chicken does.)? It is just a change to the ending and the procedure of The Mind-Reading Chicken. The big changes between the two Routines are that the card is signed and the card ends up genuinely inside the egg. It is utterly ridiculous and wholly unnecessary, but it sure is fun.

I chose to pursue the Effect of an object appearing in an egg because, as stated earlier, I like to explore in the ridiculous. An objects appearance inside of an egg is in no way a new concept in Magic. Here is a very brief list of appearances of this concept throughout just the last 150 years:

Borrowed Ring in Egg- Modern Magic by Professor Hoffman (1876)

– Conradi & Tuch- und Ei-Kunststück- Der Zauberspiegel Friedrich W. Conradi-Horster

(1896) Silk To Egg

– Combination “Card in Egg” Trick- The Conjurer’s Monthly Magazine (1906) TNR Card

Revelation in Egg
– Messages in Eggs- The Jinx 1-50 Unknown Contributor (1937)

– Hard Boiled Miracle- The Phoenix 1-50 Bruce Elliott (1942) Nickel To Egg

– Card in the Egg- Wand- Tarbell Course In Magic Volume Two Unknown Contributor
(1942) TNR Card Revelation in Egg

Dr Elliott released a Card in Egg routine (Taught by Alan Marchese in a recent release available through Vanishing Inc.) but I have been unable to locate it (Possibly in Genii?)

I will not be discussing any of the full methods from the Routines listed above. Nor will I be revealing Lamont’s method. Oh. I also will not be revealing the one taught in The Mind-Reading Chicken. I highly recommend that you look into those versions on your own as they are much less ridiculous that what I will be sharing with you here.

So what on Earth will you be discussing you ask (Don’t forget… I have a Chicken that can hear you…er… read your mind)?

The first version of the Effect that I would like to share with you is impromptu.
Well…

Impromptu in the sense that you do need Playing Cards…. And an Egg… And a Receptacle of some sort… And a wet wipe or towel… And a Ziploc Bag… And some skill… And you will probably have had to have read this. Other than that, completely impromptu.

The Procedure is as follows:

1) Have a card selected and signed.
2) Have said card returned to the deck.
3) Control selection to top of deck via your favorite method (Who else loves via your favorite method?).
4) Execute a Card fold via your favorite method (There it is again). Personally, I like KFC from Michael Kaminskas.
5) Place the folded card into a Thumb Palm.
6) Have an Egg selected (unless you only have one… Then… No selection necessary).
7) While holding the Egg you will be able to conceal the card.
8) Grab the Receptacle.
9) Crack the Egg and let its guts, and the signed selection fall into a waiting receptacle.
10) Consider cleaning your hands because… gross… And put the card in the Ziploc bag before you give it to your Spectator because… again… gross.

So there you have it. A totally 100% impromptu signed Card in Egg.
But wait! There is more!

I think it is now time to take a moment to discuss Made for Camera Magic. Most gripes amongst Magician’s seem to be something along the lines of, “You can’t actually do that in real life.”, or, “That only works for camera.”

I am not saying that this is not true. I am just saying that, contrary to popular opinion, a lot of what is seen that is Made For Camera can actually be done in person too. It just takes a lot of practice or adjustment to get it down at a level that would allow for that.

Just because a Performer executes something differently in person versus to a camera does not mean it is any less valuable. Think of it as doing an Effect with a specific technique for one angle and using a different technique for another angle. Neither technique is more or less valuable as long as they allow the Performer to accomplish the goal.

Made For Camera Magic has a place. It generates interest in our Craft through primarily visual engagement. It provides an opportunity to showcase Effects and Routines that an Entertainer can perform in a manner which may be more efficient for their desired perception. It affords an opportunity to Laypeople for seeing other things that the Entertainer can do that may not align with their direct needs for Entertainment.

So what does that have to do with Return of the Mind-Reading Chicken? I am glad you asked…

The made for camera version of Return of the Mind-Reading Chicken may just be the simplest of the three that I will be presenting to you here. Of course by simple I do mean…. This version requires the most extensive setup.

You will need Eggs (get some spares for… reasons)… A deck of cards… A random dummy card (does not matter what as you are going to destroy it basically) A number of duplicate cards (we will use the seven of spades for this example) that is equal to the number of eggs you are going to prepare… A sharp thing (I use an X-Acto Knife with blade #NotSponsored)… If you are anything like me, something to clean up the inevitable mess the first few attempts… And a Receptacle of some sort…

The other thing you will need is a Stooge… Er… Completely Random Assistant

Preparation:
For the sake of this explanation we will say there are 7 Seven of Spades’ and 6 eggs. Have your Assistant sign six of the seven of spades’.
While they are doing that you need to prepare your six eggs.

To prepare the eggs-
Fold up your dummy card into quarters.
Fold it again into eighths (do not crease it super hard. For the preparation phase you want it loose).

You are going to need to cut a slit in your egg that is slightly wider that a playing card that has been folded into eighths (This is going to be wider than you think because of the curvature of the egg). If you cannot do this by eye, and who on Earth would have that odd skill, then I recommend drawing a line on the egg with the card lined up alongside it.

Press the card flat against the egg with the short edge “up” towards the pointy bit of the egg (Pointy bit is not the technical term, but I could not figure out what it was called. The non-blunt end is what we are going for here). Look at how much space it takes up in the egg. When you make your mark for your cut do so at the top of where your card would go into the egg that will allow for the card to actually fit into the egg.

Take your sharp blade and prepare to cut an egg..

Disclaimer: If you are a child get an adult to help with this if needed. If you are an adult and need help, get a child. They can probably do it better than us anyway.

I have found it helpful to begin by lightly scoring the line at a slight upward angle (This will allow later for the card to slide inward smoother without catching on wayward shell edge).

Once you have cut through your line you are going to need to cut another that is down from the first line spaced a little further than the thickness of the card that is folded into eighths.

Cut this second line the same way as the first, but at a slight downward angle.

Next cut a line that connects the two lines at their borders (the angle is really not too much of an issue here surprisingly).

You should now have a rectangle of eggshell and a rectangle of eggshell shaped “hole” cut into your egg.

Take your dummy card… And shove it into the rectangular hole gently…
Not all the way.
Just enough to make sure it fits…
Pull it out.
Enjoy the goopy goodness that is stuck to it.

Now take one of the signed seven of spades, fold it into tight eights this time, and put it in the egg in the same manner.

Congratulations! You have now prepared an egg. Now do it five more times and put all six eggs in a carton.

I will wait…

Okay. That bit of Ridiculousness is now over with. On to the steps.

The Procedure is as follows:
1) Hand the deck to your “Spectator” and have a card freely selected and signed, and replaced in the deck. This is made WAY easier because your Spectator is well aware of what card they should choose.

2) Have your “Spectator “select a random egg in accordance with your patter.

3) Remove the egg with the slit away from the camera and make do whatever your patter supports with the egg over the cards.

D) Have your “Spectator” verify the signed selection has vanished from the deck (wink, wink).

5) Have your “Spectator” hold your receptacle.

6) Crack the egg and let the guts fall out into the receptacle along with the card mess.

7) Open the card up to display.

That is it for that version. There are, of course, modifications that can be made. Adjustments to match your Presentation. Let your “Spectator” crack the egg. I leave that up to you.

Remember, this version is designed to be filmed. It is not going to require being examined. It will require some acting from yourself and your Assistant.

Time for the At The Table version.

This one is the heavy one.
Ready?
Then in the immortal word of Ace Venture, “All righty then.”

For the At The Table version you will need… Playing Cards…. And Eggs… An unprepared egg carton (the lid will help you honest)…And a Receptacle of some sort… And a wet wipe or towel… And a Ziploc Bag…

You will need to prepare one egg in the manner in which you did for the Made For Camera version. This time though you will not pre insert a card into the egg ahead of time. Instead you will be doing that in the course of the Routine. Basically, cut the opening in the egg and put it back in the carton of eggs in a position where the Spectator’s will not see what you have done to it on casual display.

The basic procedure is as follows”
1) Have your Spectator select and sign a playing card from the deck.

2) “Lose” the card in the deck and secretly control it to the top (via your favorite method- I use a Double Undercut).

3) In the course of witty and/or sharp banter fold the card into quarters (via your favorite method-I use a Mercury Card Fold).

4) Hand the deck to your Spectator to hold.

5) In the Process of retrieving the Eggs add the final fold to the card (tightening up the folds as you go). The card is going to go into a Thumb Palm at this point.
(This next step is the big step)

F) Display the eggs to your Spectators and have them select an egg. This is an arbitrary selection because you are going to cheat here. As you go to remove the egg rotate the carton toward yourself and simply remove the egg you have prepared. In the process of this removal simply load the Thumb Palmed card into the egg (Practice the action a few times and you will see that this is actually very simple to
accomplish).Your thumb can actually be used to push the card fully into the egg in a very natural seeming manner.

Important information about things in Step F-

First, the folded card in Thumb Palm will be hidden by the top of the egg carton in the display of the eggs.

Second, the selected egg is arbitrary because when you remove the egg the lid will be obfuscating (I love that word) the eggs and you can remove the prepared egg.

Third, nothing has happened yet at all in the Spectators’ opinion so you have a relaxed atmosphere to accomplish all of this. Fourth, do not feel guilty or rushed here because (see third) you really do not need to feel that way.

7) Proudly display the egg and wave it over the deck your Spectator “has been holding this whole time”.

8) You have two options now.

First- Ask your Spectator to remove their selection from the deck. They will be amazed it is not there. Bring out your receptacle and clearly crack the egg in a way that destroys the evidence (This is REALLY easy). The egg stuffs and a folded up card will now drop into the receptacle.

Second- Break the egg in your receptacle. The egg stuffs and folded up card will drop into the receptacle. Let them take a moment to decide they need to look through the deck they are holding. Prompt if necessary.

9) Very Openly remove the card from the egg gunk.

10) Open it up very slowly for the reveal.

11) Put the card in the Ziploc bag before you give it to your Spectator because… icky…

12) Consider cleaning your hands… again… gross.

There it is.
Three different settings based versions of Return of the Mind-Reading Chicken.
Was this really necessary?
No. Not at all.

Did the Routine add anything original to our toolboxes?
Probably not.

So why. Why would you subject us to this I hear you ask (Did not need the chicken for that).

The purpose of this Effect Break was to provide a Routine that is designed to be Performed across three settings. I did not provide patter for you because that is not what this is for. If you read my article in the Special Edition#1 of The Magic Roadshow I touched upon the idea of two different mindsets amongst the recent generations of conjurors.

What I have provided here is an example. Good or bad is up to you to determine.

-An example of a way to satisfy both arguments.
-A Routine that is inherently the same whether At The Table, Made For Camera, or even “Impromptu”.

I hope you enjoyed my first Effect Break. I hope to provide more in the future. They will likely be just as ridiculous as this.

You’re welcome…..

*I would like to thank Lamont Ream for permission to put this out there in front of you readers.
**I would like to thank Nathan Kranzo for his assistance in the research for this Routine.

Donavon Powell

o0o————————————-o0o

 

CHAMELEON – Magic Effect
Rick Carruth

This effect was recently featured in The Magic Portal’s 100th edition and was first published a number of years ago in a Roadshow far, far away…   It has been re-written for clarity.

It’s nice to have your own, personal magic guru. I have one, and her name is Carolyn. Most people know her as my wife, but few know that she does double duty as both my life partner and my backboard… a backboard of course being a tennis term for a wall you relentlessly hit balls against.. only to have them endlessly return. You can’t get anything pass a backboard..

Imagine a chameleon, sitting in a tree, confident in his surrounding and his natural ability to hide himself from his prey. Imagine the chameleon, turning to move from one limb to another, and realizing that he’s sharing the limb with a hawk. The hawk’s not fooled. The hawk see’s the movement and quickly recognizes the chameleon for what it is…

Lunch…

The Chameleon.. that’s me… The Ladyhawk.. that’s my wife.

I picked up my current favorite deck from the coffee table and sat next to Carolyn on the sofa. She knew what was coming, and with a slightly annoyed look, she put down her phone.

I looked through the deck and removed five cards: a six of spades, three of clubs, Ace of hearts, three of diamonds, and eight of diamonds. I wasn’t ‘locked in’ to these five cards, per se, but I am locked in to five specific cards.. as you’ll see. I mixed them a little and spread them face-up into a fan so we could see the faces. I asked her to pick one of the five, remove it, and give it the once-over.. She picked the Ace of Hearts.

After begrudgingly examining the Ace, she gave it back, I still held the fan, so I effortlessly and openly slid it into the number three position, in the exact center of the small packet.

I closed the fan and turned the packet over.. still in the left hand. I gave it three quick Monge Shuffles.. ( I slid the top card into the right hand, put the second card on TOP of this card, the third card on the BOTTOM, the fourth on top, and the last card on the bottom. If you do this three times.. the cards return to their original positions.)

” Watch as I magically remove the Ace of Hearts from the pack..” I performed a little make-believe move and pretended to take a card from the center of the pack.

I ‘showed’ her the imaginary ace, and then pretended to put it in one of my pockets for safe keeping.

With the packet face down in the left hand, I reached with my right thumb and middle finger and grasp the top card by the LEFT top and bottom corner and turned the top card over with much the same motion as opening the back cover of a book. I moved the card off the stack, still holding it between the thumb and middle finger, and held it for Carolyn to see.

“You can see, this is NOT your card..” and I dropped it several inches, face up, to the coffee table. She agreed.. as my stellar performance continued..

I took the second card and turned it with the same motion as the first, commenting on it, too, not being her card. It was dropped to the coffee table, face-up, on top of the first card.

I then pivoted both the THIRD and FOURTH cards as one, showed them to my nemesis, and casually LAID them on top of the other two. So far, so good. She didn’t notice the double lift or her Ace under the bottom of the card she just saw.

Lastly, I flipped the last card for her to confirm it wasn’t hers. I used that card to slide UNDER the stack on the table and flip all the cards over.. face-down. The last card she saw is now the top card on the face down packet.

“OK.. where’s the Ace?” she murmured.

“Remember Sweetie.. It’s in my pocket..”

I picked up the face-down packet and put it back into the left hand.. I flipped the top card again, just as I had done before, except this time I let the card slide back onto the top of the packet. ( At this moment, Carolyn was looking at four face down cards with a face up card on top of the packet.)

“Again, this is not your Ace, correct..?” to which she agreed. I removed the card from the top of the packet and dropped it onto the coffee table. I performed the same move again with the second card and Carolyn again agreed that it was not her card. I lifted the THIRD CARD ONLY and flipped it over exactly like the other two.

” Not your card, right? ”
” No, it’s not my card..”

I pointed to the pocket supposedly containing the ace and reminded her once again that it couldn’t possibly be her card, as we both knew her card was in my pocket.

In that instant, as she involuntarily cut her eyes toward the pocket, I used my thumb to slightly pull down on the bottom card so I could lift the top face-up card, and the card under it, the face down Ace, as one… and drop it onto the other two on the coffee table.

** Because the card under the third card is the face-down ace, I need cards with a white border, just in case these two card separate as I lay them down. I don’t want to give away that I’m lifting a face-up and a face-down card simultaneously.

I flipped the last card in my hand, showing her that it wasn’t hers, and put it face-up on top of the other four.

Checking for a reaction, I saw a very foreign look; one that seemed a little bemused and restrained, but still slightly curious.. A foreign reaction to me.

” So, where’s the ace really? ”

” It’s right here..”, .. and I reached into my shirt/pants pocket and removed the Ace of Hearts.

I gave her a few seconds, or maybe gave myself a few seconds, to ponder the outcome. Although it may have appeared to a stranger that I was on the cusp of achieving the Holy Grail of my measly card career, what I was about to reveal next would probably get me kicked out of my magic club.. But, I was confident Penn and Teller had done worse…

” Sweetie.. You know I can’t keep a secret from you – the Ace was in my pocket before I began the trick.”

I could see her take a deep breath, and then exhale a relieving sigh, as I laid the Ace down on the coffee table, keeping it separate from the original packet.

“What would you have done if I had picked another card..? ”

” Well, if you had picked the three of clubs, I had it right here..” as I took the three from my shirt/pants pocket and put it, face-up, into the left hand.

What Carolyn didn’t see was.. as I reached with my right hand to take the three from my pocket, I plucked a small piece of double-sided tape from my belt with my left hand, a piece that had been very secretly, and very loosely, placed there beforehand.

With the Three (or whatever) now in my left hand, I reached for another card in another pocket with the right hand. Sweetie was watching my right hand pull cards from my pockets, and didn’t notice as I took the small piece of tape, stuck to my left index finger, and stuck it to the back of the Three.

” And if you had picked the Six, I had it right here in my other pants pocket, and the Eight was right here in my other shirt pocket, and the other Three was here in my back pocket..”. ( Of course.. these cards can be anywhere, including in an index in one shirt pocket )

As I removed these cards from pockets, I dropped each one into the left hand on top of the three of clubs with the tape on it’s back. Then all four cards were dropped on top of the ace already on the table. I could see a slight knowing smile cross her lips.

I reached down and gently picked up the five cards taken from my pockets. After squaring the five cards thoroughly, I gave the center of the cards a little squeeze to secure the three of clubs to the face of the ace and turned the packet face down. I also gave all the cards a quick mix.

Oh, one more little bit of magic..”

I shook the small packet back and forth a couple of times with my left hand. I paused, then removed the top card with my right hand, turned it for Carolyn to see, and DROPPED IT face up to the table. I repeated this with the second card, then the third card, and finally.. the fourth, and last, card… She knows what a double looks like, and my dropping each card to the table was just enough to convince her I wasn’t holding a double..

Her smug smile was gone.. So was the Ace of Hearts..

I reached for the original packet of cards, still laying face-up on the coffee table, and with my index finger, pushed the cards apart. You could clearly see four face-up cards and one face-down card in the center of the pack.

” Flip it over, sweetheart..”

Carolyn reached for the face-down card, pulled it from the packet, and dropped it face-up onto the table.

It was the Ace of Hearts.

Somewhere in the wild, a chameleon sharing a limb with a hawk was spared as a sudden gust of wind from the north shook the limb the two were sharing and forced the hawk to spread her wings to maintain her balance. Tucking them back against her sides, Ladyhawk was disappointed to see that the chameleon was gone. Had he changed colors and blended with the leaves, or had he fell from his perch?

It didn’t really matter. Because on THIS day, at least, Mr. Chameleon wasn’t destined to be anyone’s Lunch…

All that’s required is five cards, generally three red and two black, a small piece of double-stick tape, and five duplicate cards to match the five picked from the deck.
Aside from a couple of double lifts, this effect is basically self-working.

** If you’re confident enough, you can skip the double-sided tape and simply perform a double lift. I like using the tape because it allows me to handle all four cards very loosely.. and drop them to the table…

Take the five duplicates and put one in each pocket, all in one pocket, one in a pocket, one under the TV Guide, (We live in the ’70s), or wherever you’re comfortable. All that’s necessary is that you remember which location contains what card. Loosely stick the double-stick tape on your belt, and you’re set…
Of course, pretend to put the chosen card in the location that actually contains a duplicate of that card.

If you will set up the cards as suggested and then simply read the story and perform the tasks as you read, it will work beautifully for you, as it does for me.. You can easily master this effect in an hour or so.. and have an effect that looks and plays like a minor miracle..

Rick Carruth

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The Magic of Johnny Thompson – Excerpt

From the Introduction by Teller, and republished with permission from Julie Eng and Magicana.

Al Baker: “Most magicians stop thinking too soon.”

“There are three kinds of gum in Tomsoni & Co. For prolonged chewing, Pam uses sugarless (for dental health). Then she secretly switches in a kind that Tomsoni can stretch about a foot – like gum in a cartoon – when he gets his fingers stuck in it. By her last entrance, she has switched it yet again so that she can now defy Tomsoni by blowing the perfect bubble in his face.

The latter two gums must be pre-chewed, starting at a precise time before the show, so they will be an exact constancy to stretch and bubble on cue.

There is a moment when one of the doves drops a huge, moist turd on Tomsoni’s lapel. It’s a trick done by stealing and ditching a gaff containing a secret formula for comedy bird poop that will not stain a tuxedo.

There are lots of magic theory books. They teach ‘acting principles’ and ‘composition principles’ and ‘presentation principles’. They are fun to read and sometimes thought provoking. But performers who have spent tens of thousands of hours onstage rarely write such books.

Those performers know that there is just one principle: Keep working after anybody else would quit. Search – for years if necessary – till you find the perfect gum, the ideal poop, the sentence or the silence that makes the idea sing.

What does all this have to do with the book you have in your hand?

My childhood magic books were wrong. Originality isn’t the first step; it’s frequently the last. When we know what has gone before – know it not from skimming a book or watching a video, but from doing it the way it was intended to be done – then we’re equipped to take a piece of magic to the next level..”

The Magic of Johnny Thompson – Written by Jamy Ian Swiss, Johnny Thompson
2018 – 663 pages (Hardcover), published by Magicana
https://www.magicana.com/buy/publications/magic-johnny-thompson

** Editor’s note – This is my favorite book from the past year.. what an achievement!

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Behind the Scenes With Johnny Thompson – Article

Nice article published in MUM and written by David Ben.

http://d3oezog2pcfwg7.cloudfront.net/sites/default/files/Johnny%20Thompson%20from%20MUM%20Jan%202018.pdf

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Jamy Ian Swiss and The New Yorker – Article

Wonderful, detailed article from 2008 on modern magic, the meaning of life, and Jami Ian Swiss. Great read…

https://www.newyorker.com/magazine/2008/03/17/the-real-work

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Festivals – Be A Solutions Provider – Article
Kyle Peron

How solving THEIR problems… can solve YOUR problems.

Too many entertainers hit the festival market with how great they are. This is fine to be proud of yourself and your show, but if I am a festival person, I want and need more than that. I need and want someone who I can benefit from and who can solve some of the problems I am faced with each year. I need what is called a “Solutions Provider”. A solutions provider becomes very valuable to your client and your perceived value in their eyes becomes much greater.

To many festival clients, an entertainer is nothing more than another product they pay for, use, and throw away when they are done. It is sad to think of it this way, but this is very often the case. As an entertainer who wants to keep working with these festivals year after year, I have come to learn that building relationships with these clients means I have to become more than just a product to them. I have to add value to what they do. I have to listen to their needs, meet their needs and show them how they can benefit from this.

A festival prospect wants someone who understands that their festival committee is doing the jobs of 15 people but 3 people to do it. They want someone who can understand that on any given day, their committee and helpers are pulled in 15 different directions.

Remember that the art of success in festivals is to always listen to the prospect. In listening, you can really find out what their needs are and change a negative into a positive by being a total solutions provider. Being a solutions provider does not mean that you have to give in completely without getting anything in return. It simply means to listen to what they say, find out their needs and offer a mutual solution.

I have found that there are various degrees of entertainment at the festivals I work. These range from wonderful and fantastic performers to those you wonder how they even tied their shoes in the morning. I have found that it really does vary but it seems like it is the smaller festivals that are more likely to have the entertainment that is questionable.

The reason for this is that the local festivals are usually put together by a volunteer group that changes from year to year. These people are not sure of what entertainment is out there or how to go about finding it. They often will use references from friends or relatives and this does not always lead to quality.

However, this is a great thing for us festival magicians. By this, I mean that we can be a solutions provider for them easily. They are often very happy and eager to get my information and I can provide solutions they are wanting and craving.

The local festivals I have found are often committee based. Most of them are more than willing to not only want your information but any solutions you can provide to them to make their jobs even easier. This is a great way to build a relationship with these folks early on.

Train yourself to listen to their needs and you can also use this line. “What can I provide to you for next year that can really help make your festival event the very best that it can be?” or…

“I know how tough it is putting together entertainment for your festival each year and I would love to help make it easier for you if I can. I have performed at numerous festivals just like yours over the years and perhaps my knowledge might be of help to you in solving some of your issues or problems. PLEASE feel free to let me help you if I can be of service.”

This usually always gets them talking. Most of the time they want to talk to someone about everything they have to do. LET THIS HAPPEN! This is a gold mine for you if they start talking about other things. It allows you to listen in and to solve the problems that they mention. Through this process you not only get in for the entertainment but you can often times help them through other services you can provide.

I am happy to announce that my newest book, “FESTIVAL MAGIC”, is finished and is NOW available at http://www.kpmagicproducts.com/Festival_Magic.html . This 112pg book is filled with the most up to date information on how anyone can work and succeed in the festival and fair markets.

As always, I encourage you the readers to let me know your thoughts. So if you have any thoughts on my articles or suggestions or comments, please feel free to e-mail me directly at- KyleKellyMagic@gmail.com . I would love to hear from you…!

Kyle Peron – Magician and Illusionist
http://www.kpmagicproducts.com
http://www.Facebook.com/perondesign

(This article was originally published in http://www.MagicNewZealand.com and is republished here with Kyle’s permission.. Thanks Kyle!)

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King Con – An Effect
By Christopher M. Reynolds

Yes.. this issue has a distinct CON slant, and leading the way is the infamous con man Count Victor Lustig.. and an effect inspired by his misdeeds.

The world of the magician and the world of the con artist are inexorably linked. Lies and deception are their stock in trade. But, there’s a fine, almost invisible, line between the art of conjuring and the art of the con. It’s the difference between a Lance Burton and a Lance Armstrong; one tells lies for fun… and the other for profit. That’s where the similarities between the two professions diverge. People step into a magic show fully aware that they’re about to be bamboozled; they actively want to be fooled. Nobody wants to be the victim of a crime. A skilled con artist can manipulate a victim’s reality at a higher, more insidious, level. They heartlessly toy with those persons most cherished beliefs about reality.

The world of magic is filled with household names: Harry Houdini, Doug Henning, David Copperfield, David Blaine, Criss Angel. The clandestine world of the con artist also has its superstars. Wall Street swindler Bernie Madoff is only one of the more infamous offenders in a rogues gallery of hustlers, cheats, and grifters. They’re the heir apparent to the one name that towers above the rest: Count Victor Lustig.

Lustig was an aristocrat in the hallowed halls of crime; one of the smoothest, most ingenious, con men ever to swindle a buck out of an unsuspecting chump. He was born in Austria-Hungary in 1890. By the age of nineteen, he was fluent in five different languages, using his silver tongue as his weapon of choice while embarking on a life of crime. His most famous and audacious swindle involved selling the Eiffel Tower in Paris, France, to unwitting investors; not once, but twice. He had convinced them that the famed national treasure was to be destroyed for scrap metal.

In this sleight-of-hand card trick, we’ll recreate the story of Lustig’s other infamous con, the “Rumanian Money Box.” This is an old fashioned, “pick a card, any card,” style trick with some simple sleight of hand thrown in for good measure.

Count Lustig had written a list of ten “commandments” that every con man should follow. This was first on the list: Be a patient listener ( it is this, not fast talking, that gets a conman his coups.) As you’ll soon read, I didn’t follow Lustig’s advice. You don’t have to follow my long-winded script word for word.

MAGICIAN: Count Victor Lustig was one of the most notorious con men in history. In the 1920s he sold the Eiffel Tower in Paris, France (not once, but twice) to unsuspecting victims. One of his other infamous cons was dubbed “The Rumanian Money Box.” Lustig hired an engineer to design a wooden box that was fitted with a series of dials, levers, knobs, bells, and whistles. It was roughly the size of a large shoebox and had a narrow slot cut in either end. As Lustig sweet-talked his victim, he explained that the mahogany box was an illegal money duplicating machine. He calmly assuaged their fears by telling them that it wasn’t producing counterfeit bills (a federal offense that could lead to doing prison time) but was indeed printing legitimate United States currency.

1.) Have the spectator pick a card (we’ll use the ace of hearts to illustrate) and have them write $1,000 on the face. Place the signed card back into the deck and secretly bring it to the top (by whatever method your skill level allows. If your skill level is zero, then I recommend reading, “The Royal Road To Card Magic” by Jean Hugard and Frederick Braue. Learn a few things and then come back. I’ll be waiting impatiently for you.)

2.) With the chosen, signed card now on top of the pack, perform a double-lift, showing the second-to-top card ( example: the eight of clubs.) The signed card will be hidden behind it. Lift the two cards as one and thrust them halfway into the middle of the pack.

MAGICIAN: Lustig inserted a $1,000 bill in one end and a slip of blank paper in the other. He began to fuss and fidget with the levers and dials. After a moment, both the money and the paper were sucked into the machine. Lustig would tell his dupe that the paper had to sit in a special chemical mixture for six hours. After the six hours were up, Lustig would fiddle with the knobs and an identical $1,000 bill would emerge from the contraption.

3.) Hold the pack in your left hand, holding it by the sides (between the thumb on one side and the middle, ring, and pinky fingers on the other) with the index finger curled underneath.

4.) Tilt the pack upwards a little to show that the eight of clubs is actually in the center, then tilt it downwards slightly. Grasp the protruding cards with the right hand, (the thumb at the top, the forefinger pressed against the outer edges, and the middle finger on the face) and push the two cards, always as one, into the deck about half an inch. Draw the upper card outwards again, so that the tip of your left forefinger can engage the outer end of the lower card, and push it flush into the deck. This action is hidden from the spectators by the upper card and by the sloping position of the pack. The eight of clubs is now placed into the middle of the deck, and, unbeknownst to the spectators, the ace of hearts is the card protruding slightly from the pack. Push the protruding card (the ace of hearts masquerading as the eight of clubs) into the deck, leaving about a 1/2 inch sticking out.

MAGICIAN: Let’s see what happens when I put this eight of clubs through the “Rumanian Money Machine.” Will you please name your chosen card.

5.) With his right hand, the magician pushes the card into the pack; in doing this, he strikes it rather forcibly. The force of the push shoots the card out the opposite end of the deck. Slowly rotate your wrist to show the spectators the card projecting from the other end of the pack. If you strike it hard enough, it should come out the other end about an inch or so. Allow them to remove the protruding card from the deck. In the spectator’s imagination, the eight of clubs instantly transforms, with the mere flick of the wrist, into the ace of hearts.

MAGICIAN: Lustig’s victims would then pay him $30,000 for the box. He then had six hours to get out of town before his targets realized they’d been duped. Now if you’ll excuse me, I have to get to the bank to withdraw money. (A very nice gentleman offered me the opportunity to buy the Brooklyn Bridge for a steal ! )

Christopher M. Reynolds

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Count Victor Lustig List… Further Reference…

– Be a patient listener (it is this, not fast talking, that gets a con-man his coups).
– Never look bored.
– Wait for the other person to reveal any political opinions, then agree with them.
– Let the other person reveal religious views, then have the same ones.
– Hint at sex talk, but don’t follow up unless the other gent shows a strong interest.
– Never discuss illness, unless some special concern is shown.
– Never pry into a person’s personal circumstances (they’ll tell you all eventually).
– Never boast. Just let your importance be quietly obvious.
– Never be untidy.
– Never get drunk.

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The Gentle Grafter – Free Download
O’ Henry

What do you get when you combine a gentle con man and one of the 20th centuries greatest writers? This series of short stories reveals it all..

There is humor in grafting and O Henry manages a light touch. He even has his heart-of-gold thieves touch their marks, ever so lightly. No violence and no bad language, although do not be alarmed with some of the period jargon.

To address sensitivities prevalent among popular writer’s in the closing years of the 19th century: Women are rarely spoken of with respect and such females as make their way to these pagers are less than fully developed characters. African American get very little in the way of respect. There is some humor at the expense of Christians and almost no mention of Jews. New Yorkers seem to get the most pointed barbs although it is assumed that Farmers were made to be the unintentional place for an honest con artist to refill his wallet. ( Think “Adventures of Huckleberry Finn”)

I created this PDF myself.. just for you guys… 163 pages.

https://magicroadshow.com/wp-content/uploads/2019/07/THE-GENTLE-GRAFTER.pdf

If you would rather listen to The Gentle Grafter as an AUDIO BOOK, free of course, visit this address.. nothing to download..

https://librivox.org/the-gentle-grafter-by-o-henry/

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Houdini – The Right Way To Do Wrong – Rare Free Ebook

As Houdini himself notes in the introduction this book has two purposes: to protect the public from the swindles within by greater knowledge, and to entertain. It achieves both masterfully with clear, concise explanations of the various frauds and cons. While the setting is of course that of Houdini’s time (this book was published in 1906) you may notice the ancestors of various modern phishing schemes and banking scams within.

Houdini was such a famous escape artist and illusionist that his name has entered language. Those expecting a biography of the great man will be disappointed, although he does take diversions into discussions of rope tricks and a few other escapes. Most of the “ways to do wrong” inside are fascinating and skillful in how they part the target from their money and valuables without violence, but many of the perpetrators were still violent criminals. If there is a take home message it is that if somethings sounds too good to be true it probably is.

PDF  http://www.iapsop.com/ssoc/1906__houdini___the_right_way_to_do_wrong.pdf

** AUDIO  https://archive.org/details/right_way_to_do_wrong_lah_librivox

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The Burnaby Bluff – An Effect
By The Burnaby Kid

The performer pulls out five ESP cards and a dollar bill, explaining that they’re going to play a game of numerology… just as soon as he can find one last thing. The performer frantically searches through his pockets, finally producing an invisible die. The spectator is invited to roll the die to make sure it’s genuine. The spectator agrees, wondering what mental ward the performer escaped from.

After arranging the ESP cards in a row, the magician crumples up the dollar bill and asks the spectator to place it on any of the cards. The performer asks if the spectator would like to change their mind. They can, if they’d like. After making their final decision, the spectator is invited to roll the die three times and announce which numbers come up. Let’s assume the spectator says five, three, and six. “That’s 14,” the magician says. “Would you like to roll another number?” The spectator decides to roll again. That number is added to the total, whereupon he’s offered the chance to roll again.

Let’s say he declines.

“OK”, the magician says. “Normally, we would start counting from the side, but I want you to choose not only where we start, but which direction to go in. Which way would you like to go?” Let’s say spectator says to the left. “My left or your left?” the performer asks. Their left, they say.

Starting on the count of one, the dollar bill is moved from one card to the next, stopping when the count reaches the spectator’s total. The ESP card the bill lands on is the plus sign. “You know how I said this was going to be a game of numerology?” says the performer. “Well, I’m afraid to say that I’ve won. “He turns over the four other cards.. each bears a normal back. The magician then turns over the plus sign card to reveal that it has a big, bold X drawn on its back.

The spectator can truly start wherever they want. The spectator can truly start counting in whichever direction they want. The spectator has a free choice of how high to count. The spectator can do the counting themselves. The performer doesn’t have to conceal five outs for this trick. There is nothing besides the five cards, the dollar bill wager, and the invisible die. There’s no sleight of hand involved.

Curious?
The trick relies on a specific combination of principles that I’ll call it The Burnaby Bluff. The idea is this: if you have N number of items, then even with the above conditions, you can play a game that results in needing only (N – 1) / 2 outs. Meaning, with five items you need two outs, with seven items you need three outs, and so on. Conversely, if you have a system of N outs, then you can accommodate up to (2 x N) + 1 items.

II. ESP Cards Layout
For the Burnaby Bluff to work, you need to arrange the items in an alternating pattern of 010101010, where 0 is an indifferent item, and 1 is any item you have an out for.

Imagine the cards are laid out as in the figure. The two outs will be for the plus sign and the square. To make it easy, mark the back of the plus sign card with a big X, and on the dollar bill write, “You will end up on the square.” As a mnemonic, consider that the plus sign looks like an X, and the square resembles a dollar bill.

As said previously, it doesn’t matter where you start, which direction you start counting in, or how high you count. What matters is the strict nature of the count. Before we start, though, put your nger on the circle and count one. Move it to the plus sign and count two. Move it to the wavy lines and count three. Move it to the square, and count four. Move it to the star, and count five. Move it back to the square and count six. Move it to the wavy lines and count seven. Keep going for a while. You’ll notice that no matter how high you count, every time your finger lands on the plus sign or the square, you have an even number, and every time your finger lands on any other card, you have an odd number. We’ll call this process “Counting on the Card”, meaning that you start the count on a given card.

Now, try this. Put your finger on the circle. Move it to the plus sign and count one, to the wavy lines and count two, and so on. This is the exact the opposite of the procedure above, you start the count on the first move, rather than the first card. We’ll call this, appropriately enough, “Counting on the Move”.

In performance, you will encounter one of four scenarios:
1. They start on an indifferent card and say an even number. Count on the Card, and you will end up with a force card.
2. They start on an indifferent card and say an odd number. Count on the Move, and you will end up with a force card. (Examples 1 and 2 match the description above)
3. They start on a force card and say an odd number. Count on the Card, and you will end up with a force card.
4. They start on a force card and say an even number. Count on the Move, and you will end up with a force card.

Test this out with various start points, counting directions, and random numbers. So long as you follow the above, you will end up on a force card. And if this seems like a lot to remember, I assure you it’s not. In performance, the procedure becomes self-evident. A few dozen run-throughs will reveal the procedure’s logic.

Most tricks of this nature require an out for each eventuality. With more outs comes the risk of clutter and clumsy handling. On the other hand, the Burnaby Bluff reduces the number of necessary outs while maintaining an acceptable number of items. Personally, I’m happy keeping it to five items and just using the two outs. The trick is sitting in my wallet right now.. five cards with the dollar bill wrapped around them.

What you sacrifice in choosing the Burnaby Bluff over similar routines is directness. In a standard multiple-out routine, they can merely point to an object, later shown to match your prediction. This one involves counting. As such, you really want to drive home the fairness of the proceedings.

The counting itself is theatrically motivated by calling the trick a “game of numerology”. Get them to accept that and you’re golden. Before the counting actually starts, make sure they understand that the rolled-up bill will be going back and forth over the cards, rather than jumping to the other side when one end is reached. I use the phrase like a guard on a prison wall” to drive it home. Counting on the Move seems to me to be a bit more natural than Counting on the Card, so I script the latter thusly. “OK, your chose this card, yeah? This is the first card? OK, that’s card number one. Count with me: one…” Move to the next card. “…Two…” Move to the next card, and so on.

When you arrive at the final card, really twist the knife on how all those choices turned out. Reiterate the conditions, which are completely true. If they ended up with 37, then make a big deal of saying, “If you’d only said 36, you’d have ended up with this card. If you’d only said 38, you’d have ended up with this card. Maybe if you started on a different spot, or gone in the other direction, you’d have ended up here, or maybe here. You made all the choices, correct?” Then reveal the prediction.

Every time you do this trick, there’s a 40% chance that they will choose a force card right off the bat. You could just reveal the prediction at that point, but I’d rather go through the game, especially because if they do choose a force card, there’s a 50% that they will also end on that same force card, which allows you to play up the fact that fate, for whatever reason, seemed to really want them to have that card. At that point you can reveal the prediction and take whatever extra credit you want.

If the spectator tries messing with you by apparently rolling the same number multiple times, apologize and say, “Oh, that must be the loaded one. Here, use this one.” Another bit of business, from Karl Fulves’ Self-Working Mental Magic, is to make sure to ask for the die back at the end. I try to look annoyed about having to ask, as if they were going to walk off with it.

The Jolly Almanac Of Card Knavery, by The Burnaby Kid – entire ebook.
https://theburnabykid.com/nwmb/JACK.pdf

Thanks to Jim Canaday at The Magic Portal for the link.. https://themagicportal.us/

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At The Table Live Lecture – Erik Tait – A Review
Donavon Powell

I would like to get this out of the way early. I am not surprised that I enjoyed this. While Erik Tait did not fool Penn and Teller he did win the I.B.M. Gold Cups Close Up Competition. He is obviously a talented Magician. But he is much more. While it is true he is quite the thinker I think, possibly more importantly, Erik knows how to apply what he thinks to constructing Routines that are Practical for Real World use.

Nothing that he teaches on this At-The-Table Lecture is unusable in a Working setting. Erik shows a wonderful ability to construct modular Routines that can be incorporated into different places within an Act. He explains which items he considers appropriate for openers and why.

That leads me into the next portion of this review. What is in the Lecture? That is a tough one. Erik teaches seven full Routines. If you have ever wanted to do a Svengali Deck Routine with a Non-Gimmicked Deck this is the place to learn it. I have been doing a version of this for years. I walked away with some visual elements that have elevated my Routine to another level. A Bar Trick with a Bit of Cork and a Borrowed Dollar is now in my regular carry and is another Routine that I frequently did prior to this Lecture that I am adjusting because his version is better.

This Lecture is about SO much more than the Routines within. Erik teaches his work on the One Handed Top Palm, the Dribble Pass, the Click Pass, and Culling. Additionally, he shows uses for some traditional card gaffes that most of us have lying around. The Coin Coaster could have been released as a solo release and people would have bought it. If you are ready to try something bold and knuckle busting take a stab at the Spanish Train Change.

The level of difficulty in this At-The-Table Lecture is definitely not for the Novice. While Erik does teach the techniques necessary to accomplish the Routines, the Novice would have to get VERY comfortable with them before they could even attempt to work with the material. That said, I would still recommend this Lecture to a Novice for the Theory contained within. The section on the Fool Us and I.B.M. Routines is a great window into the process a Professional goes through when developing something. Limiting yourself to Create is a mindset that is not often considered, but it generates some phenomenal results. Erik explains very well how he uses this concept in his approach to creating Magic.

Much like every At-The-Table Lecture the video quality is top-notch. Multiple demonstrations of Technique are used to capture the important elements. The audio is phenomenal. Perhaps it is a little too good. There are points where you can hear EVERYTHING. Certain things, like Clicks or Riffles, are very much louder than you would expect them to be. This is just nit-picking on my part to be honest as I really did not mind it. The quality of what has been provided in this Lecture more than compensates for that very minor annoyance.

At The Table Live Lecture Erik Tait April is $7.95- From Murphy’s Magic and dealers who carry their product line.

https://www.murphysmagic.com/product.aspx?id=64396

Donavon Powell – The Magic Roadshow

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Rick Lax Podcast – The Magic Word

Rick Lax is one of my favorite performers. He is often spot-on with his selection of magic, not to mention ‘perhaps’ the most-viewed magician in the world, thanks to his Youtube videos.. Scott Wells Magic Word podcast are always a pleasure..
Listen or download…

https://www.themagicwordpodcast.com/scottwellsmagic/495-rick-lax

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How Rick Lax Magically Pulls in Millions of Facebook Views – Article – Lauren Orsini for tubular insights..

To hear Rick Lax tell it, he’s just a regular guy in Las Vegas: a practicing magician, a non-practicing lawyer, and a creator who likes to sit at his laptop at the local Starbucks and make low-budget videos to post on his Facebook page.

He also happens to run Facebook’s #1 global entertainment channel by an influencer. With more than 846M monthly Facebook views, Rick Lax’s Favorite Videos has attracted 3.9M followers with its clickable videos and reshares.

Unlike many of the influencers who routinely occupy the top of Tubular’s Facebook rankings, Rick is not an organization or content company. He’s just one entertainer, and he’s only recently begun expanding his media empire (and to family and friends at that).

Rick may be a regular guy, but his traffic is anything but. We sat down with this unique Facebook creator to ask about his insights on generating organic Facebook views on a budget, plus what he’s doing that companies with 10x his advertising budget should be doing, too.

READ MORE….

https://tubularinsights.com/rick-lax-facebook-views/

** Editors note: If you want more views for your Youtube vids.. this is the perfect article for you..

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A Quarter-Century of Recreational Mathematics – Free PDF
Martin Gardner

The author of Scientific American’s column “Mathematical Games” from 1956 to 1981 recounts 25 years of amusing puzzles and serious discoveries – by Martin Gardner

“My ‘Mathematical Games’ column began in the December 1956 issue of Scientific American with an article on hexaflexagons. These curious structures, created by folding an ordinary strip of paper into a hexagon and then gluing the ends together, could be turned inside out repeatedly, revealing one or more hidden faces.”

Mr. Gardner, a hero to many mathematicians and magicians alike, spent a good portion of his later career in Hendersonville NC.. about 30 minutes from my home. That encouraged me to read his books and study his columns. I couldn’t help but become a big fan. This nice 8 page PDF is a good cross-section of his interests, and the ‘puzzles’ fans around the world cherished. He was a lover of cards; and many of his puzzles featured card related questions. Even if you aren’t a big fan of puzzles, you will enjoy this small collection, and hopefully, seek more of Mr. Gardner’s vast volumn of work..

https://magicroadshow.com/wp-content/uploads/2019/08/Aug2008_Martin_Gardner_Recreational_Mathematics.pdf

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The Vault – Heavens Aces by Chris Randall
Review by Rick Carruth

Produce four Jokers at your fingertips and instantly change them into the four Aces!

The perfect card effect for noisy performing locations.

The magician magically produces four Jokers out of thin air and then… the four Jokers instantly change into the four Aces! This highly visual effect looks incredible!

Born and Raised in Las Vegas, Chris Randall has swept the world of entertainment. His style is a mix of sleight of hand, comedy, and sizzling hot illusions. He has appeared on The Masters of Illusion TV show as well as a regular at the famed Magic Castle in Hollywood. He is a multiple award winner, including 1st Place in Stage Magic from the International Brotherhood of Magicians.

My Thoughts..

Do you like flourishes? Do you like effects that can be performed entirely in-the-hand? Heaven’s Aces ticks both boxes.

The ad copy, thankfully, is totally true. There’s no hyperbole, and nothing to criticize. I like that.. The four Jokers are presented, one at a time, in a very fancy manner.. They are switched individually to the other hand.. and, the next time you see the Jokers.. they’ve become the four Aces. It’s really that sudden.

Chris Randall is one of my favorite performers. Maybe that makes me a tad bias.. but I doubt it. I have been a fan of his magic for years and admire his willingness to perform complex magic one moment.. and classic magic the next. He is extremely popular at the Magic Castle, and has won numerous awards.

I know.. winning awards doesn’t mean this is a solid purchase… and I don’t want to imply it. But in this case there is certainly a correlation. What I want you to do is visit the Murphy’s link I’ve posted at the end of the post and watch a ‘performance’ of Heaven’s Aces. The visual will give you a much better understanding of this effect than my words.

This is one of those effects that, once you’ve seen it, you’ll have that magical tug to learn it. I did. In all fairness, you’ll not learn it overnight. It does require a certain amount of practice to make it look like Chris’ version. Most good effects do..

Everything is good: Video, sound, angles and teaching. You won’t feel like somethings amiss. Everything you need to learn Heaven’s Aces is in the instantly downloadable video. You use your own Aces and Jokers, as there are no gaffs or special prep. It’s all technique.

I do have a special fondness for Heaven’s Aces since restaurant magic is, almost, my sole performing method. The fact that it’s quick, quiet, and doesn’t require a table are all pluses. I recommend it !

$9.95 From Murphy’s Magic and their friends who carry the Murphy’s line of magic.

https://www.murphysmagic.com/product.aspx?id=64410

Review by Rick Carruth.. https://MagicRoadshow.com

o0o———————————-o0o

11 TOUCH – By LongLong – A Review
Review by Rick Carruth

The Ad Copy..

11TOUCH is our first exposure to the incredible magic teaching work of China’s underground magician, Longlong. With years of accumulation and clever thinking, he has created numerous sleights and routines.

Now, he has decided to publish some of them! In 11TOUCH, you will learn 11 strong sleights for cards and coins, and he will teach you how to fool others by only using a sleight!

Of course, these sleights have infinite applications, and they will make your routine more pure, instead of relying on gimmicks. We always think that integrating sleights into routines is the best way to embody the value of sleights. This can also help you understand the sleights in a more in-depth way.

In the magic world, sleights are voluminous. Let’s start with 11TOUCH and embark on our long journey of discovery into sleights.

There are 11 effects involved:

1. Anti Retention
2. Coin Change
3. Cut Palm
4. Ego Shift
5. Fan Change
6. Fm Vanish
7. L Change
8. Long Vanish
9. Shadow Change
10. Sound Retention
11. Thrum Change

My Thoughts:

First off.. I don’t know LongLong. He is, according to the ad copy, an underground magician from China. After reviewing his download, I still wouldn’t know LongLong if I saw him.. but I have a pretty good idea what his hands look like…

Now that I have your upmost attention.. or not.. I can comment on the copy. There are no outlandish claims, no mendacity, untruthfulness, fibbing, fabrication, perfidiousness, lack of veracity, telling stories, misrepresentation, prevarication, equivocation or fibs..

I agree 100% that 11TOUCH is a great collection of sleights. Nothing more.. no routines or effects. Sleights. And I have NO problem with that. There are 11 different ‘moves’ designed to make your current effects that much stronger. There are card moves, there are coin moves.. and then more card and coin moves.

I’m not going to break down each sleight, as it’s truly hard to properly describe a move, but each is designed to improve something you’re currently doing, I assume. Even if you aren’t performing something complementary at the moment, I’m willing to bet you will look for a reason to perform some of these slick sleights. I have a friend who just ordered a gaffed coin, the only gaff on the download, because he saw possibilities.

Most of the coin sleights are vanishes, of course, but one features a change of one coin for another.. and all are very visual and almost stand-alone sleights. Another features a ‘flick’ of a coin from one hand to another that results in a vanish. Nothing is a true knuckle-buster, but they are the type sleights that WILL require some degree of practice.

The card sleights include a couple of shifts and/or palms, a fan change, and a middle of the pack change.

The video quality and sound are first class. There are multiple camera angles and many slow repeats, giving you a chance to see the moves from different angles multiple times. There isn’t audio instructions.. everything is visual. There was an interesting Texas and Chicago blues soundtrack.. a la Stevie Ray Vaughan and Buddy Guy, and excellent lighting.

I am a value guy. I will pay twenty bucks for a couple of sleights I’ll actually use for the public. I know some of you will have reservations spending that for a download without effects, but IF you are a regular performer you’ll quickly see the value. This download isn’t for beginners.. you won’t know what to do with it.. but the rest of you guys will be really impressed by LongLong’s skill.

$19.99 From Murphy’s Magic and their associates..
https://www.murphysmagic.com/product.aspx?id=65160

o0o———————————o0o

How to VANISH Any Card INSTANTLY – MAGIC TUTORIAL
Alex Pandrea

Take any playing card and make it vanish into thin air. That’s what we are learning in this magic tutorial. Using a little sleight of hand, you can now too manipulate any playing card! Ok, that sounded like a late night informercial – but hey it’s true. BOOM :))) tankai

o0o——————————o0o

Dice Stacking Without A Cup – DIY Utility Device & PDF
Michael Lyth

Michael has created a PDF to show his method of creating a card capable of stacking dice – without a tube. Follow his directions and you can stack dice behind a signed card.. leaving the spectator clueless.

This requires a slight bit of DIY.. but should be very easy for almost anyone to make in very short time. Give it a try.

https://magicroadshow.com/wp-content/uploads/2019/08/dice-stacking-without-a-cup-1.pdf

o0o——————————o0o

VANISH MAGIC MAGAZINE 61 – Free

Our friend, Paul Romhany, just announced the following:

“Have you ever flown to a gig on a private et, have you ever wanted to perform for A-list celebrities or work high-end cruise ships. Our feature artist ERIC BEDARD does exactly that.

We also have some great magic tricks you can perform plus the reviews of the very latest magic tricks, books, and downloads out today.”

100 pages and it’s ALL FREE…

http://VanishMagic.com

o0o——————————-o0o

Three Free Magic Apps – For Roadshow Readers
James Rock

“Just a quick note to share a few readily-available magic bits and pieces I’ve created over the years… I’d rather share directly with Roadshow readers than on magic boards.”

http://predictr.co – predict anything on a borrowed phone. I originally created this few years back, only it had been broken for a while – it’s now back up and running and works very nicely. It’s by far the strongest of the three tricks here.

http://twedict.co – a multiple-outs Twitter-based prediction.

http://acaan.co – the one you already know about, which although I’m rather fond of, I’m yet to discover anyone has ever used it (including myself!).

Feel free to share.. all free to use, of course.

Editor’s note: If the effect has a PDF.. read it. They are short, but it will assist you greatly.

 

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Hundreds and hundreds of magic tutorial videos at:

Card Tricks and Magical Mysteries video blog.. http://www.magicmysteries.org/
Magic Roadshow Video Blog… http://magicblog.org

———————

That does it for this special issue. I hope you found something to help your magic along. Remember, if you have something you would like to see published on the Magic Roadshow site.. send it to: TheMagicRoadshow@gmail.com

Be Blessed!
Rick Carruth / Editor

Professor – Camelard College of Conjuring of Chemmis, Egypt
http://www.camelardcollege.org/

The most beautiful thing we can experience is the mysterious. It is the source of all true art and all science.”
Albert Einstein

[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[

11 TOUCH – LongLong – A Review

11 TOUCH – LongLong – A Review

11 TOUCH – By LongLong – A Review

11TOUCH is our first exposure to the incredible magic teaching work of China’s underground magician, Longlong. With years of accumulation and clever thinking, he has created numerous sleights and routines.

Now, he has decided to publish some of them! In 11TOUCH, you will learn 11 strong sleights for cards and coins, and he will teach you how to fool others by only using a sleight!

Of course, these sleights have infinite applications, and they will make your routine more pure, instead of relying on gimmicks. We always think that integrating sleights into routines is the best way to embody the value of sleights. This can also help you understand the sleights in a more in-depth way.

In the magic world, sleights are voluminous. Let’s start with 11TOUCH and embark on our long journey of discovery into sleights.

There are 11 effects involved:

1. Anti Retention
2. Coin Change
3. Cut Palm
4. Ego Shift
5. Fan Change
6. Fm Vanish
7. L Change
8. Long Vanish
9. Shadow Change
10. Sound Retention
11. Thrum Change

My Thoughts:

First off.. I don’t know LongLong. He is, according to the ad copy, an underground magician from China. After reviewing his download, I still wouldn’t know LongLong if I saw him.. but I have a pretty good idea what his hands look like…

Now that I have your upmost attention.. or not.. I can comment on the copy. There are no outlandish claims, no mendacity, untruthfulness, fibbing, fabrication, perfidiousness, lack of veracity, telling stories, misrepresentation, prevarication, equivocation or fibs..

I agree 100% that 11TOUCH is a great collection of sleights. Nothing more.. no routines or effects. Sleights. And I have NO problem with that. There are 11 different ‘moves’ designed to make your current effects that much stronger. There are card moves, there are coin moves.. and then more card and coin moves.

I’m not going to break down each sleight, as it’s truly hard to properly describe a move, but each is designed to improve something you’re currently doing, I assume. Even if you aren’t performing something complementary at the moment, I’m willing to bet you will look for a reason to perform some of these slick sleights. I have a friend who just ordered a gaffed coin, the only gaff on the download, because he saw possibilities.

Most of the coin sleights are vanishes, of course, but one features a change of one coin for another.. and all are very visual and almost stand-alone sleights. Another features a ‘flick’ of a coin from one hand to another that results in a vanish. Nothing is a true knuckle-buster, but they are the type sleights that WILL require some degree of practice.

The card sleights include a couple of shifts and/or palms, a fan change, and a middle of the pack change.

The video quality and sound are first class. There are multiple camera angles and many slow repeats, giving you a chance to see the moves from different angles multiple times. There isn’t audio instructions.. everything is visual. There was an interesting Texas and Chicago blues soundtrack.. a la Stevie Ray Vaughan and Buddy Guy, and excellent lighting.

I am a value guy. I will pay twenty bucks for a couple of sleights I’ll actually use for the public. I know some of you will have reservations spending that for a download without effects, but IF you are a regular performer you’ll quickly see the value. This download isn’t for beginners.. you won’t know what to do with it.. but the rest of you guys will be really impressed by LongLong’s skill.

$19.99 From Murphy’s Magic and their associates..
https://www.murphysmagic.com/product.aspx?id=65160

Review by Rick Carruth.. https://MagicRoadshow.com

At The Table Live Lecture – Erik Tait – A Review

At The Table Live Lecture – Erik Tait – A Review

At The Table Live Lecture – Erik Tait – A Review

Donavon Powell

I would like to get this out of the way early. I am not surprised that I enjoyed this. While Erik Tait did not fool Penn and Teller he did win the I.B.M. Gold Cups Close Up Competition. He is obviously a talented Magician. But he is much more. While it is true he is quite the thinker I think, possibly more importantly, Erik knows how to apply what he thinks to constructing Routines that are Practical for Real World use.

Nothing that he teaches on this At-The-Table Lecture is unusable in a Working setting. Erik shows a wonderful ability to construct modular Routines that can be incorporated into different places within an Act. He explains which items he considers appropriate for openers and why.

That leads me into the next portion of this review. What is in the Lecture? That is a tough one. Erik teaches seven full Routines. If you have ever wanted to do a Svengali Deck Routine with a Non-Gimmicked Deck this is the place to learn it. I have been doing a version of this for years. I walked away with some visual elements that have elevated my Routine to another level. A Bar Trick with a Bit of Cork and a Borrowed Dollar is now in my regular carry and is another Routine that I frequently did prior to this Lecture that I am adjusting because his version is better.

This Lecture is about SO much more than the Routines within. Erik teaches his work on the One Handed Top Palm, the Dribble Pass, the Click Pass, and Culling. Additionally, he shows uses for some traditional card gaffes that most of us have lying around. The Coin Coaster could have been released as a solo release and people would have bought it. If you are ready to try something bold and knuckle busting take a stab at the Spanish Train Change.

The level of difficulty in this At-The-Table Lecture is definitely not for the Novice. While Erik does teach the techniques necessary to accomplish the Routines, the Novice would have to get VERY comfortable with them before they could even attempt to work with the material. That said, I would still recommend this Lecture to a Novice for the Theory contained within. The section on the Fool Us and I.B.M. Routines is a great window into the process a Professional goes through when developing something. Limiting yourself to Create is a mindset that is not often considered, but it generates some phenomenal results. Erik explains very well how he uses this concept in his approach to creating Magic.

Much like every At-The-Table Lecture the video quality is top-notch. Multiple demonstrations of Technique are used to capture the important elements. The audio is phenomenal. Perhaps it is a little too good. There are points where you can hear EVERYTHING. Certain things, like Clicks or Riffles, are very much louder than you would expect them to be. This is just nit-picking on my part to be honest as I really did not mind it. The quality of what has been provided in this Lecture more than compensates for that very minor annoyance.

At The Table Live Lecture Erik Tait April is $7.95- From Murphy’s Magic and dealers who carry their product line.

https://www.murphysmagic.com/product.aspx?id=64396

Donavon Powell – The Magic Roadshow

A SPECIAL – MAGIC ROADSHOW JOURNAL OF MAGIC – FREE!

A SPECIAL – MAGIC ROADSHOW JOURNAL OF MAGIC – FREE!

MAGIC ROADSHOW SPECIAL #1
June 2019

Hello Friends..

I’m glad to be back in touch with Roadshow friends and fans. (It really hasn’t been that long since we published our 200th issue! ) You can look forward to future specials, just like this one, periodically.. as I gather and write material. Thankfully, I have friends like Paul Lelekis and Donavon Powell who were willing to contribute material and play important roles in getting this issue ready. Thanks guys!

I honestly think this is one of my most informative issues ever. One of my favorite resources is the daily mailing I receive from Mel Kientz. I’m sure a number of you are familiar with Mel’s MAGICIAN’S LIFE Web Notes. He sends one email each day, detailing one magic-related story in the news. Like me, I’m sure he subscribes to daily Google Alerts, which gives us a heads up on stories featuring our chosen key words. Mel picks his favorite story and sends a copy/link to everyone on his list. A couple of features in this issue were links I was made aware of by Mel’s mailings. Do yourself a nice little favor and email Mel at: m.kientz@bnproducts.com and ask to be added to his list. You will NEVER be spammed in any way. Yes, I frequently look through all the Google Alerts myself.. but some days I know there won’t be a better story than the one Mel sends me..

Here’s hoping all of you experienced a pleasant Memorial Day! There would not be a Magic Roadshow without the amazing contributions of all the brave soldiers who fought to preserve our freedom. Instead of massive growth, our country would have spent the past sixty years struggling to recover from defeat. Hurrah!

Broken Wand – David Neubauer.. My friend, David, passed away on Sunday, May 19th, from a terminal illness. David was only 59 years old. He was one of the few guys I corresponded with on a regular basis. He was the compiler of MAGIC In LAS VEGAS each month.. and he and I worked together to get all the necessary info.. David was also a well known big band musician and a hard working magician who performed regularly all over Southern California.. including the Magic Castle. He is survived by his wife and daughters, Bonnie, Caylee and Amanda. God-speed, my Friend…

Comments and Questions? Email Me at: Rick@MagicRoadshow.com

 ^^ This Issue as a PDF… 48 pages and 12450 words – Download HERE

__________________
TABLE OF CONTENT

  • The 10 Card Poker Deal – Effect from Paul A. Lelekis
  • Children’s Magic: Taming the “Creepers” – Article – Kyle Peron
  • Bridge The Gap: Moving Towards The Future Of Our Art – Donavon Powell
  • Making Magic at Meetings: A Guide from Jez Rose
  • Only Three? – Card Effect From Issue #121 of the Roadshow
  • VANISHING INC. – 10 Year Anniversary Download Bundle – Free
  • A Few Words from David Blaine…
  • The Magic Man Project – Rubber Bands – Review by Rick Carruth
  • How to Master Any Subject – Short Video
  • How to Prevent Magic Burnout – Article – by Dominic Reyes
  • Unleaded – by Justin Miller – A Review by Donavon Powell
  • False Cuts and Shuffles Project – Review by Rick Carruth
  • The Vault – CHINK-A-CHINK Elements – Review by Rick Carruth
  • VIista Print – My ‘Go To’ Guys for Business Cards
  • The Endless Chain – A Review – Review by Rick Carruth
  • The Vault – Phosphorus by Victor Sanz – Review by Rick Carruth
  • Watch: The 11 Best Tricks From ‘Penn & Teller: Fool Us’ – Videos
  • Super Easy ‘Torn Page’ Magic Trick – Video Tutorial
  • Card Portal Pop Out – Video Tutorial Featuring Shin Lim
  • Card Tricks With Willie (Nelson) – Video
  • How to Solve a Magic Square -Tutorial / Article
  • Ten Tricks With Rubber Bands – Video Tutorial – Rich Ferguson
  • Dice Mysteries – By Steve Drury
  • If you have anything to do today.. Stay Away From This Site!
  • Other Very Important Stuff..

0———-o0o————0

“Maturing is realizing how many things don’t require your comment..” Unk.

“It’s in the small details that one recognizes the great artist..” Arturo de Ascario

“There is a lot of comedy in magic, and magic going wrong.” J K Rowling

“Never tell the auidience how good you are, they will soon find out for themselves.” Harry Houdini

[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[

THE 10 CARD POKER DEAL – Effect
Paul A. Lelekis

The 10 Card Poker deal is easy to do, has many variations and is a lot of fun for both spectators and the performer!

I would suggest that the performer create a scenario, in your patter, of the spectator being the “winner” in a fictional game. That way you won’t make him or her, the sucker…which is NOT a good thing to do.

Be fanciful with your scenario…brag about you (the performer) being so skilled as a Poker player, that “…NO ONE can beat me!”

“I ALWAYS win at poker! I’ve got MAD skills! Let me show you!”

Continue with this patter until you start “losing” the hands, one after the other! Then you can’t “understand how this is possible”!

What is the 10 Card Poker Deal? The dealer shuffles and deals out two hands from a 10 card stock…and the dealer always wins…normally. In this poker deal, the performer always loses!

The spectator will win the game each time with two pairs, three of a kind, or a full house. The hand holding the Jonah Card will ALWAYS lose.

The 10 cards will consist of three sets of “three-of-a-kinds” (9 cards) and one “Jonah” card (the 8C is the Jonah Card). The Jonah card is the one odd-ball card that doesn’t match any of the three-of-a-kinds.

Whoever gets the Jonah card automatically loses…every single time. (I prefer that the PERFORMER lose each time instead of the spectator.)

It is NOT a good idea to make the spectator the “sucker”…except when you perform kiddie magic. Plus the spectator never gets the Jonah card!

10 cards to use: The Jonah card will be the eight of Clubs (8C). The other 9 cards should be; two black sixes and one red six, two red nines and the nine of Clubs, and any 3 Kings, any 3 Queens or any 3 Jacks.

ALSO…the Jonah Card (8C) will always be in the performer’s hand and will never be noticed!
In addition, the performer’s bragging about “how good he is” will also make people laugh! Making the performer the “sucker’ is a great way to make the spectators relax. They KNOW that you are failing on purpose!

Preparation:
First, remove the one Jonah card and mix the other nine cards, well. Then place the Jonah card, the eight of Clubs (8C), second from the bottom of the packet…or ninth from the top.

Place this 10 card packet on top of the deck. Then as you begin your presentation, false overhand shuffle the deck to protect the top stock. Hold a left pinkie break above this 10-card stock. At this point, you can either use a Riffle Force, or the Criss-Cross Force to force the 10-card packet.

You have essentially forced the top 10 cards. Count off the cards, one at a time onto the table. The Jonah card will now be second from the top. When you deal out two hands, YOU (the performer) will receive the Jonah Card (8C) and will automatically lose.

1 st Deal:
With the Jonah card second from the top, you will receive the eight of Clubs (8C) when you deal the two hands out. While you are dealing, brag about how you never lose! After the deal, show that you have lost! Act as though you can’t figure this out!

2 nd Deal:
Overhand the packet again getting the Jonah card to the bottom of the packet. The 8C is will again be dealt to you. Act confused!

3 rd Deal:
This time, place the Jonah card (8C) second from the top of the deck. False shuffle the packet, keeping the 8C second from the top. Deal off the first card, one to each hand, (performer gets the 8C!) and then stop as you if you just thought of something!

At this point, deal out the next two cards (FACE DOWN!) and let the spectator decide which card she wants without showing her the cards.

“I’ll tell you what…I’ll let you decide which card goes to whom! Maybe THAT’S my problem!”

Repeat this “spectator’s choice” for each of the next four pairs of cards.
You again lose because you ALREADY HAVE the Jonah Card.

4 th Deal: OPTIONAL DEAL!

You are going to palm off the Jonah Card this time…but don’t worry about it! No one will be looking for a palm so it’s very easy to do! Shuffle the packet, getting the 8C to the bottom of the deck. As you hold the packet in both hands, bottom palm the Jonah Card into your right
hand and then say, “Excuse me…do you know how to deal?”

This question seems nonsensical but aptly covers the palm as you reach out to hand the spectator the packet…all eyes will follow the packet. When she has finished her shuffle, reach out and drag the packet toward yourself AS YOU ADD THE 8C on top. This will go unnoticed!

But just as you start to deal the cards, you will stop and say “Wait – why don’t you be the one who deals the cards this time…maybe THAT’S the problem!” Hand the packet over to her.
She will deal you, the performer, the Jonah card…and AFTER SHE has shuffled the deck! As soon as she finishes dealing the last card, immediately say “I won!” This will make people giggle…until they look at the cards! You lost again!

5 th Deal:
Shuffle the packet, again secretly getting the 8C second from the top of the packet. Then deal out two cards (you get the 8C!) and stop as you say “You know what? This time I’ll let you look at ALL of the cards as I deal them out, TWO AT A TIME, so that you choose which cards you
want!”

Guess what? You still lose!

This is a light-hearted, friendly type of demonstration and it is important for you to “build it up” for the spectators! That’s your job as an entertainer!

NOTE: This can be even more fun when you play this enough times. How? Because you’ll be able to look at your hand and immediately know what the spectator has in her hand!
You might say, “Alright…this time I KNOW I dealt myself a Full House, nines over sixes!”…or whatever hand you KNOW she received! Play this part of it up – it’s a lot of fun!

** All of Paul’s ebooks can be found on Lybrary.com .. Please check ’em out. ( I lost count of how many ebooks Paul has authored.. 55 is my best guess! and they’re ALL listed here… and one of the most affordable deals in all of magic. )

https://www.lybrary.com/paul-a-lelekis-m-163788.html

——————–o0o————————–

Children’s Magic: Taming the “Creepers” – Article
Kyle Peron

So what does taming the creepers mean and just what am I talking about? I wanted to take time in this article to talk about an aspect of children’s magic that probably affects every children’s performer but is not about the magic itself or about the effects that we do. This is a situation where as you perform your show, at some point you look out and realize your audience is gone. Well they are not really gone, just gone from your eyesight. The reason being is that throughout your show the kids have been “creeping” up on you and now they are pretty much around your ankles. Many of you know exactly what I mean.

Now the above situation may be an extreme one but I think it is safe to say that every children’s performer faces this issue of maintaining your stage and working area for performance during the show itself. This article is going to talk about this issue of how can you control the creepers and how can you go about it in a way that works for you but does not send the wrong messages to the children or the parents.

I think the first thing I would like to state is that kids creeping up on you throughout the performance should not always be seen as the children misbehaving. It does not always need to be perceived immediately by you that the kids are being bad on purpose. I often find the kids creep because of their interest in the show and what they are seeing. Let me explain.

Kids live in a world of magic every single day. When they turn a switch, light appears. When they touch a button sound comes out of this box. In many ways young children do not see this as technology; they see it as magic in a way. To them a lot of what they visually experience is magic in of itself. So when they see things happen like this, they are curious about it. The same can be said about kids at a magic show. The curiosity and interest of the magic they are seeing interests them and because of this, they may get excited and want to get a closer look.

Now I am not going to say that every kid out there is creeping up on you just out of curiosity alone. We all know some kids will creep just because they may want to put you to a test of how much they can get away with. This does happen. However, my point is to not always foresee it in your mind immediately as a bad thing. Do not let the creeping first get in your mind so much that it causes you to give or send out a very negative vibe to the audience. Maintain your cool and realize that perhaps the real reason is that the kids just like what you are doing and want to get into it more.

To me that is rule number one. I never make assumptions during a show and perceive the creeping situation as a negative thing. I realize that children will be children and so the way I handle it must also be done in a fun and professional way.

To me as a performer my goal is to entertain the children and the audience watching as well as be a solutions provider to the parents who are hiring me. My main role while I am there is not to lecture the children on proper behavior. Nor is it my main goal to discipline children every chance I get. The reason for me being there is to create the best entertainment experience I can give to the children while meeting the needs of the client.

So how do we handle the creepers and what can we do in our show to establish a performance area and maintain this throughout a children’s performance.

– First rule of thumb is what I mentioned above. Never assume that the kids creeping up on you is always a negative thing. Do not immediately draw a conclusion that the children are being bad. By thinking in this way you start to send out the wrong signals through your body language. One thing every children’s performer should know is that children can read you like a book. They really can tell easily if you are mad or frustrated. Do not send off the wrong message when it may not even be warranted.

– Verbally define your stage area for your performance. I like to first establish my performance area right as the children are coming in to sit down. I do two things here that may be of interest. 1) I am actually standing in front of my table in my performance area. This idea of actually being in the performance area as the children come in actually establishes that the area is for the performer right from the start. And 2) I will verbally talk to the children as they are seated and tell them where the first line is to be. I will also mention that the birthday child is to sit front and center. This makes the child feel special but also allows me as a performer to establish the very first row of children and do so in a logical way.

– Visually define your stage area. There are many ways in which a performer can visually define a performance area by use of an actual object that defines the edge of your “stage”. Some of the various ideas are as follows:

A) rope laid down on the floor
B) drafting tape or painters tape on the floor
C) small orange cones spaced out in front of your area. (can work well for outdoor events)

There are many others but you get the idea. The important thing here to note is that you are physically defining your performance area and the children know to stay behind it during the show. Just keep in mind that no matter what you are placing down to define your space, that 1) you make sure it is not going to cause any damage and 2) you clean it up and leave the area the same way as when you got there.

– Setting up of the ground rules during your introduction. Another great way to keep children from creeping is to set up your ground rules early in the show through your verbal introduction. Now the idea here is to define your rules but to not come across as lecturing to the kids or talking down to them. It needs to be defined for them but should be done in a fun process where the children get the idea clearly.

How I like to handle this is through telling the children how I select my helpers for the show. I basically cover off on 3 rules that I look for from the kids who I want to be my helpers. I need:

A) A child who is sitting down crisscross applesauce style. Now many of you may know what I mean. It is basically sitting Indian style. My wife is a teacher in elementary school and she tells me that a lot of teachers are using this in the early grades and so the kids are familiar with this position through the phrase.

B) I look for a helper who has their hand raised when they want to help out.

C) The most important rule of all is I am looking for a helper who is having fun, paying attention and has a BIG smile on their face. I then ask the children to see their smiles and applaud them for doing so.

By setting up these 3 simple ground rules I am establishing my performance area and rules for conduct but doing so in a fun manner that is not threatening or scary to them.

If at any point in the show someone starts to creep I can simply refer to my rules to remind them how I select my helpers. I can ask the kids if they know how I pick my helpers. In most cases the children will answer back correctly and I will look to make sure they are all adhering to it. They want to help out in the show because it is interactive and fun for them. So they usually will adhere to the rules simply because they want to help out as well.

– Do not be afraid to pause the show a bit in order to make sure you have the room you need. Now this does not mean you halt the show and stare the kids down. It really just means pausing briefly and perhaps mentioning to the children if you can have them all move back just a little bit so that everyone can see all the fun we are going to have. Something along those lines gets the message and point across but in a non-confrontational way.

As always, I encourage you the readers to let me know your thoughts. So if you have any thoughts on my articles or suggestions or comments, please feel free to e-mail me directly at: KyleKellyMagic@gmail.com. I would love to hear from you…!

Kyle Peron – Magician and Illusionist
http://www.kpmagicproducts.com
http://www.Facebook.com/perondesign

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Bridge The Gap: Moving Towards The Future Of Our Art
Donavon Powell

Anyone else notice people complaining about the Modern Conjurors and their YouTwitFace Camera Magic not being practical and a purchasing epidemic of useless Magic? Or others complaining about the Previous Generation Magicians being out of touch with what is really going on in the world of Magic these days? I am asking for a reason. Stick with me. This is not a rant that bashes one side or the other.

Instead it is a brief collection of some of my thoughts on the subject and ideas to resolve this “conflict”. I recently saw a trailer for something that is interesting conceptually. It is not a new concept, but a modern take on an old one. It is unfortunate that the trailer sort of gives away the method to astute Magicians since that is the customer base. It is a way to wring in and out a deck, and it is hyper visual.

Todays Spectators respond only to that visual impact is often said, but it is not a correct statement. Appearing Deck From Case (Origins in Card Manipulations Onward- My favorite is Kuniyasu Fujiwara’s The Appearing Deck [1992]), Appearing Candles (More Magic Onward- My favorite is David Garrard’s Candle Appearance in a Flash [1993]) , Numerous Glass Productions (Modern Magic Onward- My favorite is John Cornelius’ A Toast [2001]). These are just a few examples of visual impact in the past. Go back further. Illusion. Stage Manipulation. Highly Visual areas of performance styles that go back a few centuries. The difference is, at least as far as I can tell, Modern Conjurors are rediscovering this concept that was never really lost.

Is it true that new, insanely visual, products are flowing out like water from the minds of creators these days? Absolutely. But they always have been. There are just more people doing it and a wider audience consuming it. What we saw at the forefront of the “previous generation” of Magic releases were Routines primarily. Just like today’s market some were good and many were bad. Many releases were from the working repertoire of Magicians. Several were not. This too is true of todays market. Releases previously taught Routining and Act Construction. Modern releases are, or seem to be, more focused on Openers, Closers, or Jaw Droppers. Just like in the past it is up to you to decide if it fits in with your needs as a Performer.

Consider the following scenarios:
I have a solid Card Routine. Do I just pull out a deck of cards and do it? No. I should Produce the cards. I am a Magician after all. So… Produce cards. Execute Card Routine. Now What? Do I just put the cards in the box and put them away? No. I need to Vanish them. I am a Magician after all.

I have a solid Four Coin Production. I have Produced the coins. Now what? I need to do something with them. I am a Magician after all. So… Produce coins. Execute Coin Routine. Now what? Do I just put the coins back in my pocket? No. I need to Vanish them. I am a Magician after all.

What I am getting at here is that the comparisons I made earlier between the two sales pushes are made in an effort to get across the balance needed between the mindsets of Modern and Previous generations of Magicians in their ways of thinking. Visual Magic has always been there. It just was not the focus of the consumer. Routines have always been there. They are just not the current focus of the consumer. The most successful Entertainers are the ones who can see the value in a product and incorporate it into a performance market that is viable.

Modern market production seems to be bolstered by a Consumer belief in a performance market that does not really exist. The reality is that “Street Magic”, as many perceive it to be, is not a genuine market. Because the consumer may not understand this, they presume that just doing “Quick Trick” after “Quick Trick” is the way to do it. Why? Because this is what they see. They are presented with the “Walk up to strangers and Perform” approach and make the incorrect assumption that this is how the market actually works.

This is not the case though. The snippets of performance shown are shown to highlight the Effect being sold itself. Does a performance really stop there in real world use? It does in what is shown to the consumer. If the consumer does not understand that purpose it is not the fault of the producer. This is one of the fundamental areas in which the misunderstanding lies.
Here we have an interesting opportunity to look at trailers with a more practical/utilitarian mindset. Understanding the value of a product is realistically on the consumer and not on the producer. The producer already knows its value. Typically, the producer will expand on when and where to use the product in the product instructions, but this does not help the consumer decide on a purchasing decision. An understanding of the real uses for products affords the consumer a better opportunity to obtain value for money.

Conceptually, there are two ways to look at buying Magic:
1) Am I buying something because it is hot and new, or I want the secret, or I have to have it because I hoard Magic like a dragon hoards gold?

2) Am I buying this because I see the potential it has to be utilized in genuine Performance settings and will use it? If a consumer stems the urge to buy what they see for the reasons in #1 they likely have a stronger understanding of their needs and the needs of their chosen performance market. They have a plan for the Magic that they purchase. This allows the consumer to make purchases that they actually need or will use. This plan is often not fully developed amongst those from the consumers in #1.

So why do people buy Magic without an exact plan in mind? It is partly the feeling good aspect of buying things, partly the need for the secret, partly the need to accumulate things one may “possibly use someday”, and probably other things that I have not included. Additionally, I think there is a fundamental misunderstanding of the markets that budding Magicians and Modern Consumers, will actually be performing in and the actual applications of what is being presented to the consumer.

The traditional primary markets are Busking, Restaurant, At-The-Table, Stage, and Strolling/Walk Around. These are not all of the markets, but they are the most common markets. In my opinion, an understanding by the consumer of where a product is designed to be utilized, and how to integrate it seamlessly into existing Routines or Effects, is what is really at the core of the “purchasing epidemic”.

How can this be mitigated? Mentorship.

Instead of endlessly complaining about the changing uses of presentation media, lack of understanding of craft fundamentals, and a myriad of other complaints, those with experience and wisdom should attempt to aide those interested in progressing. Instead of endlessly complaining about how out of touch the “old” Magicians are, their lack of understanding of the modern media and its uses, and a myriad of other complaints, those who are not experienced or have only performed for a camera/friends/family should attempt to take what advice is given to them and try to apply it.

The producers will continue to produce as long as there is a market for the product. This is not a bad thing. What is bad is a generation of Magicians isolated from the previous generation due to a lack of understanding of points of view on both sides. Find a Mentor. Find a Mentee. Help close the divide in our Art by establishing this relationship.

Donavon Powell

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Making Magic at Meetings: A Guide from Jez Rose

The headline isn’t metaphorical—here’s how to have a magician entertain guests without being corny, or cornering…

Inventive performers strive to keep event organizers interested year after year through variety. But magic is not as widely respected as a performance art as most others partly because of how it is positioned, how it is used, and because many magicians have allowed their acts to become tired. Notwithstanding the success of magic productions in Las Vegas and London’s West End, as well as high-profile television magicians, there’s a sea of sameness in magic. Apple’s innovation resulted in iPad magicians and some embracing the use of mobile apps, but even from the inside, working more than two hundred events each year, I’d struggle to name any other imaginative alternatives available to the events industry when it comes to magic.

Magicians have been performing short shows at tables, commonly known as “table hopping,” since the late 1980s. The doyenne of magic, Fay Presto, was perhaps the first magician to present in this format of short, punchy shows at tableside, moving between groups of diners. The classic variation of this is the “mix and mingle” format where the magician strolls around a reception entertaining informal groups of guests. But the entire magic industry jumped on that bandwagon and is still riding it some forty years later, with little development or creative variation to excite event professionals.

The result is that magic is not valued, and the ideal circumstances for showcasing magic at its best are not being leveraged. I care passionately about magic being performed well—about the memorable moments of disbelief and wonder I am privileged to create for people who will remember them for years afterward. Done right, magic can be a profound experience for audiences. Read More…

https://www.meetingsnet.com/event-design-ideas/making-magic-meetings-guide

Jez Rose is The Unusualist, performing for business events and private parties. He is an associate member of The Inner Magic Circle (with silver star) in London; a member of The Academy of Magical Arts in Hollywood; and resident Curator of Magic for Ned’s Club at The Ned in London.

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Only Three? – Card Effect
From Issue #121 of the Roadshow

Here is another effect from Magic Tips and Tricks.. Although not original, I cannot credit this effect to one magician, as many magicians have performed one version or another.

Have three spectators each chose a card at random from a shuffled deck. Ask each to look at their card and memorize it, but not share the value with the other spectators.

Deal a pile of ten cards on the table, Now, deal a pile of fifteen cards to the right of the pile of ten and then another pile of fifteen cards to the right of this one. Lastly, you should have nine cards left in your hand.

Drop them as a pack to the far right of the rest of the packs. Deal all cards face down. Ask the first spectator to put their card, face down, on top of the pile of ten. Ask them to cut as many cards as they want from the middle pack of fifteen and place them on top of their chosen card.

Repeat this with the second spectator, asking them to put their card on top of the first pack of fifteen cards you dealt, and then cut as many cards as they want off the other pack of fifteen and place them on top of their selected card. Ask the last spectator to put their card on top of the second pack of fifteen and cut as many cards as they want off the pack of nine and drop them of top of their selected card, just as the other spectators did..

Pick up what remains of the pack of nine and put it on top of the pack next to it. Put this pack on top of the pack next to it and repeat until all the cards are in one stack. Pick up the stack and, holding it face down, casually move the top four cards to the bottom of the deck.

Remind the spectators that you had no control over how many cards they cut off the packs.

Now, deal a card face up on the table and another next to it face down. Ask the spectators to call out when they see their card. Continue to deal cards, one face up onthe face up pile and another face down on the face down pile. If no one saw their card,(and they shouldn’t have) pick up the face up cards and move them to one side.

Pick up the face down cards and repeat the same procedure… a face up card and then a face down card. Eventually, you will be left holding only three cards face down, and guess what? They are the three chosen cards. This is self-working, although it doesn’t seem quite possible because of the random way the cards were cut by the spectators.

R.Carruth

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VANISHING INC. – 10 Year Anniversary Download Bundle – Free

To celebrate their tenth birthday, our friends at VANISHING Inc., Andi and Jay, have picked out ten downloads, each one special for a different reason, for you to enjoy. $50 of amazing magic for free.. All that’s required is to sign in or sign up…

“This is our gift to you. A small thank you for being a part of our journey over the last ten years. We’ve had the time of our lives and we cannot wait for the next ten years!”

Reswindled by Caleb Wiles – It all started here! We kick off with our very first Vanishing Inc. Artist, Caleb Wiles, doing a trick that we STILL consider to be the very best “Reset” routine ever created. It was one of our first downloads, and now it’s yours for free.

From the Center- from Andi’s GAMBLE download. This unusual take on a center-deal demo (no actual centers required) has a novel premise and is sure to impress anyone who loves gambling mateiral.

A Lady Up My Sleeve from Giobbi on Garcia – An excerpt from one of our favorite and most overlooked products. We asked Roberto Giobbi to revisit the work of Frank Garcia–to talk about the man and the material, and teach highlights from his repertoire. This is a shining example.

Pelikaan’s Hole Change – Peter Pelikaan is THE master of packet trick magic, so we’re giving you a packet effect in which we were COMPLETELY fooled. We think you will be, too.

Grade A Choice by John Guastaferro- John G is one of our favorite creators to work with. He exudes a calm, kind, and fluid demeanor, and his magic is always exceedingly smart and refined. This is one of our favorite routines by John.

Buckle-lectors from Cullology – Perhaps the best trick in this collection on the culls, it predates Harapan Ong’s smash hit Principia, but don’t overlook this stunning Collectors routine.

Prediction Cards from Tu – We feature a beautiful and self-working trick by team member Tu! Three prediction cards are removed from the deck and placed aside. The spectator selects a card and places it under their hand to ensure that it cannot be switched. The prediction cards are turned over one by one. The first reveals the color of the card, the second reveals the suit and the last reveals the value. When the selection is turned over, it matches the prediction perfectly. This is an impromptu effect which works every time.

Alex Elmsley Lecture – We miss Alex Elmsley, and this is an excerpt from a lecture he gave late in life. This is the closest we can now be to sitting down and learning from this legendary mind.

Mecka by Dan and Dave – We wanted to include something from our recent acquisition of Art of Magic, and so we’re featuring a stunning flourish by Dan and Dave Buck.

It Cuts Deep from Super Strong Super Simple – Ryan Schlutz released an entire collection of self-working magic on Super Strong, Super Simple, and this is a great way to showcase the quality of that material, as well as his skills as a performer and teacher.

Running time: 2 hours 25 minutes

https://www.vanishingincmagic.com/magic-downloads/card-magic-downloads/vanishing-inc-ten-year-download/

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A Few Words from David Blaine…

“You don’t get into magic. Magic gets into you.”

“Magic’s an art where you use slight of hand or illusion to create wonder. And I was just intrigued with that idea.”

“Magic is not about having a puzzle to solve. It’s about creating a moment of awe and astonishment. And that can be a beautiful thing..”

“To most magicians, cards themselves are marvels…For one thing, they feel special in your hand. Touching them, holding them, shuffling – the whole process is almost poetic. If you’re in a room full of magicians and someone just mentions the word cards, within seconds, everyone is digging into their pockets and pulling out a deck of cards. It’s one of the most amazing feelings ever.”

“As a magician, I try to show things to people that seem impossible. And I think magic, whether I’m holding my breath or shuffling a deck of cards, is pretty simple. It’s practice, it’s training, and It’s practice, it’s training and experimenting, while pushing through the pain to be the best that I can be. And that’s what magic is to me.”

– David Blaine

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The Vault – The Magic Man Project – Rubber Bands – Andrew Eland
Review by Rick Carruth

This unusual offering from Murphy’s Magic is quite unlike anything I’ve reviewed. It’s not a full fledged DVD.. and it’s not a single effect. The Ad Copy reads as follows:

In this electrifying new HD download series, Magic Man shares two of his favorite rubber band routines. These are two real-world routines that he has been performing for over 20 years – refined and tweaked through thousands of performances in every environment possible!

You will learn:
The Boomerang Band routine
A mini rubber band routine including Magic Man’s unique presentation for the Crazy Man’s Handcuffs
These are real world, in-the-trenches routines that have been audience tested and perfected!

Full HD | Full live and in-studio performances included | Real world magic | 1 hour

Who is Magic Man?

Magic Man is one of South Africa’s best kept secrets. Magic Man has been touring North America, Canada and Asia for the past 20 years building an impressive list of achievements. From the Rolling Stones at the Sticky Fingers restaurant in London to the wrap-up party in Vancouver for U2’s Zooropa Tour, Magic Man has entertained the finest!

He has worked at the Edinburgh Festival and headlined at top nightspots across Europe, Canada and South Korea. Combining unbelievable sleight-of-hand with his unique sense of humor, Magic Man can keep any room enthralled with wonder for hours!

My Thoughts:

First, I’m going to address the elephant in the room. Since this 1 hour video highlights the elusive Boomerang Band.. I’m going to start there. Although the Boomerang Band effect has been both written about and videoed, there are still those who believe it’s only a myth. A magi takes a rubber band, contorts it around his fingers, shoots it about fifteen feet across the floor.. and, just as the rubber band reaches its fartherest point… it reverses direction and literally rolls back to the magi with impressive speed. Rumor has it a certain magician can even make it roll up his arm and settle in his shirt pocket. I’m not sure about that.. but I am sure the Boomerang Band is NOT a fairy tale, as I have watched the bands dance their way back to the waiting magi numerous times.

Although the origin is unknown.. Charlie Miller, Dan Garrett, Chris Kenner, Dan Harlan, Paul Daniels, Don Cox, Al Angello, Michael Weber, and Paul Sponaugle have all made contributions to Boomerang Band, not to mention Magic Man.. Andrew Eland, who is making his contribution with this download.

Andrew.. aka, Magic Man, demonstrates and patiently teaches viewers how to perform Boomerang Band. (BB). He routinely performs his version in outdoor locations around the world, as he spends a portion of each year performing in locations from North America to Europe to South Africa.

This is one of those quirky little effects that will catch most audiences, and magicians, off-guard, as they’ve never heard of BB.. much less actually seen it. It’s the type effect that will draw crowds out of curiosity, and give you the opportunity to perform your complete set to a full house.

After teaching Boomerang Band, Andrew teaches his entire routine. Although not very long, it’s efficient.. and consist almost entirely of rubber band effects, utilizing a few small props like a battery, a wand, a spoon and a coin.

One effect is based on The Moving Ring.. but without the ring. Andrew creates a small diversion and uses this little prop to perform both this effect and to make his Crazy Man’s Handcuffs unique and very visual. You need to see it to understand what I’m saying. If you currently perform either of these two effect in a conventional way, you’ll have no problem adapting to the Magic Man method.

(Crazy Man’s Handcuffs, devised by Arthur Setterington, Peter Warlock, Herb Zarrow and popularized by David Copperfield.)

He also teaches Two Way Stretch, which is a method of showing one band as two.. and Snap by Harry Lorayne. Combined, everything creates a very nice routine for busking or traditional walk-around. You can’t beat it for the money, and it has my recommendation.

Quality wise, it is a typical Murphy’s Magic product. Filmed outdoors at VIctoria & Alfred Waterfront in Cape Town and indoors at The Capetown College of Magic in Cape Town, everything from the outdoor setting to the indoor teaching session is good, quality work. Sound is good, lighting is good, and I have no complaints.. and I don’t think you will either.

Don’t think you will learn Boomerang Bands overnight. Andrew tells you such, and you need to be prepared to put in the time to learn something unique and captivating. There’s no doubt you’ll be glad you did. Be different, and proceed to the front of the line..

$12.95 Instant Download. From Murphy’s Magic and their associates.

https://www.murphysmagic.com/product.aspx?id=64329

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How to Master Any Subject – Short Video

Richard Feynman’s four-step method for mastering any subject is so simple that it just might work…

How to master any subject.

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How to Prevent Magic Burnout – Article
by Dominic Reyes

We’ve all seen it happen…

You introduce a friend to the fascinating world of magic tricks, and they get HOOKED. Suddenly, they’re pulling out a deck of cards everywhere you go. They’re practicing their double lifts on the bus, perfecting their coin vanishes at work, and busting out their favourite tricks on everyone they meet.

‘There’s no rush,’ you tell them. ‘You’ll burn out!’

But they don’t seem to notice. They carry on practicing magic fanatically… Until a few months down the line, they quit.

This is a common—and worrying—occurrence that happens ALL the time.

Magic BurnoutPeople are introduced to the hobby and fall in love at first sight. They stock up on all the equipment they need, and get going. But it all becomes too much for them, and life gets in the way.

In fact, statistics from our research at the Merchant of Magic have shown that almost 70% of total beginners drift away from learning magic within 6 months of ordering their first proper magic trick, book or DVD. The remaining magicians tend to stay studying magic long term (5 years+).

So the question becomes: how do we keep ourselves interested in magic for the first 6 months and beyond without getting ‘burnt out’?

Here are four of the most common mistakes that lead to this problem, and the steps you can take to prevent them from happening to you (or someone you know). READ MORE…

How to Prevent Magic Burnout

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UNLEADED – by Justin Miller – A Review
Review by Donavon Powell

Review:
Upon my first watch of Justin Miller’s Unleaded I knew that this effect was going into my working repertoire as soon as possible. I did not think merging the Pen-Through plot and the Torn-And-Restored plot was possible, but he did it. Flawlessly.

In previous versions of these plots I never liked that the pen was in view and then suddenly through the bill or that when the card was torn a good amount of effort was required to allow for examination. With Unleaded Justin has addressed these concerns that I had with the plots and more.

Unleaded is a fantastic effect for the Walk-Around Strolling Magician, the Restaurant Workers, for At-The-Table, and even in the Parlor. This effect, though not self-working, can be learned with some practice and put in to use very quickly. It does require a little bit of preparation, but the Spectator(s) will genuinely feel that Unleaded is completely impromptu. It is not angle-proof, but the angles it does have are very easy to manage.

Justin Miller has provided us with this tool for our use. He teaches this effect very thoroughly and includes a discussion on what influenced its development. It can be purchased directly from Justin through email at – magicwithvision@gmail.com

He is limiting the quantity that he is releasing so act quickly. If you are looking for a unique addition to your working arsenal that ends clean with a signed souvenir for your Spectator(s) Unleaded is what you are after.

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FALSE CUTS AND SHUFFLES PROJECT – A Review
Liam Montier and Big Blind Media
Review by Rick Carruth

Big Blind Media has released a false cuts and shuffles ‘project’, taught by Liam Montier, and this is the ad copy…

“There is nothing more valuable in the card magician’s arsenal than the ability to convince your audience you are shuffling the deck, when in actuality you aren’t. If your spectators believe the cards are being mixed, whilst all the time you retain control of their order – then you can perform true MIRACLES! Indeed, this one skill can help transform simple self working tricks into jaw dropping slabs of IMPOSSIBILITY!

There are thousands of ways to false shuffle and cut the deck, but this project is not a cold encyclopaedic list of them. These are the A1, 24 Karat GOLD techniques that host Liam Montier has sought out and road tested on your behalf. To make the grade the featured cut or shuffle had to be practical, utterly deceptive and something YOU WOULD USE!

These powerful, deceptive skills are within the technical reach of any card handler (including some that are SO easy you could do them in your sleep!), and will have you up and running in no time.

Learning just one or two of these techniques is essential, but learning more will enable you to ‘mix and match’ the skills to create the unquestionable impression that you really are shuffling the pack. These are practical techniques – whether you are working walk-around magic, or sitting at a coffee table with some mates, you will be fooling them all in no time!

And at the end of the project four incredible magic tricks are also taught, so you can head out and test your new skills straight away!”

My Thoughts…

First, I agree wholeheartedly that cutting and shuffling is a vital part of magic. The ability to convince your audience you’ve fairly shuffled and mixed a deck is paramount to your success. I’m probably preaching to the choir here.. but I had to say it..

Liam and BBM have created a fine work for that guy who only knows a couple of cuts/shuffles. There are MANY such guys out there. I’ve answered their emails.. I’ve talked to them at meetings and conventions.. and I’ve seen their interest in works like this – aimed at the beginner to intermediate magi who has spent the majority of his time watching good card technicians from afar.. with admiration.

This download will not make you a superstar. It WILL make you better than 75% of the magicians out there. It will make you one of those guys other magicians turn to when they need to know a good cut or shuffle.. particularly false shuffles.

Rather than take the download apart, move by move, I’m going to summarize the moves and leave it to you what floats your boat. What I like and what you like WILL differ. Left handers will favor certain sleights or flourishes that don’t appeal to me.. and vice versa. The size of your hands, your speed, your dexterity and your confidence will all influence your choices. The good thing is.. there’s enough diversity that you’ll find ‘something’.. more than just something actually.. that appeals to you.

You WILL find moves you’ll use. The skill level for most of these moves is low enough that you can’t help but find a couple of good cuts and a couple of good false shuffles you can add to your repertoire this week. Most will require a night sitting in front of the TV with a deck of cards in-hand. Nothing more…

Most of these descriptions are my initial thoughts/notes… short and to-the-point.

Overview and Practice – Liam discusses how he practices and the use of tools to help with practice. This is a quickie session to give you an instant tip or two..

Overhand False Shuffle – This session includes various types of overhand false shuffles including the Dan Garrett Overhand/Underhand… very nice to watch.

The Blind Shuffle – Erdnase version of the Blind Shuffle.

The Ireland Shuffle – Good for Out of This World. Actually shuffles the cards. Good for decks set up all black/all red.

The Running Cut Shuffle – Convincing. Good for situations where you have a stacked deck and cutting the cards is OK.

About Optical Shuffles – Another brief overview to get you on the right track.

The Wiggle-Woogle Shuffle – You don’t actually DO anything. Maintains original order. Only appears as if you’re cutting the deck.

Optical Shuffle – Similar to wiggle-woggle except some cards are actually dropped on rear of pack.

Mike O’Dowd’s Slop Shuffle – Looks good as it can be done fast. Actually only
cuts the deck once.

The Lift Shuffle – Two methods. Good for preserving a portion of the cards on top of deck.

The Jog Shuffle – Another good method for preserving a top block of cards.

Swing Cut Shuffle – Good cut using a swing cut and allows spectator to see the face of the cards as they are being run. Preserves top or bottom block of cards.

Bottom Stock Shuffle – Preserves bottom stock.

The False Riffle Shuffles – Preserves small top or bottom stock… Or both..

Push Through Shuffle – Preserves full deck order. Plus additional tips.

The Triumph Shuffle.. Dai Vernon’s version.

The Charlier False Shuffle – Makes it look messy and if you couldn’t possibly maintain control..

Up the Ladder – Nice on the table shuffle to preserve a full deck. Fast.

Cuts.. Including the Swing Cut and Charlier Cut. These are legit cuts, unlike the cuts below.

Bobby Bernard False Cut – Very deceptive and very easy.
Jay Ose False Cut – Simple On the Table cut.
Tarbell 3 Way False Cut – Convincing when done fast.
Royal Road False Cut – Similar to Ose cut, but slightly more involved.
Erdnase False Cut – Used by many great workers through the years. An on-the-table cut.
Frank Thompson False Cut – Used by many of todays best performers.
The Cut – Another simple cut that works.
Crane Beak False Cut – Owen Packard’s design. In the hand cut that also gives you a glimpse of the top card.
John Bannon’s Fly Trap Cut – Nice flourish cut. In the hand.
John Bannon’s CrocoEdile Cut – Probably not something I would do, but a good cut regardless.
Gary Ouellet False Cut – Uses a swing cut in a simple manner.
Lewis Jones False Cut – Hand to Table cut with a swing cut.
David Acer’s Trinary Cut – Another in-the-hand cut that’s flourish y but not complicated.
Mini Sybil Cut – Uses three packets instead of the customary five.

The download ends with four effects that play well with a lay audience. You aren’t necessarily going to fool a room full of magicians.. but then again, magicians probably aren’t going to tip you very well either.

WEIGH Performed and Explained – Expert At The Card Table effect.

Dai Vernon’s TRIUMPH Performed & Explained – Classic magic trick. This is not a simple, shortcut method.

SHOCK TREATMENT P&E – John Bannon’s stalwart effect.

THINK OF A CARD P&E – Paul Curry’s trick using a stack. Simple effect, but fools a lay audience every time.

I am a big fan of the basics. This download, roughly 2:15 min. long, teaches a very wide section of basics.. with a flourish. You’ll be glad you bought this download. Video and sound are typical Big Blind Media. Ladies posing as the audience are typical BBM.. and very easy on the eyes… Much more enjoyable than some ‘ol hard-tailed magician.

I enjoyed this download. I learned some things.. and I can’t always say that about some of the DVD/downloads I’ve watched of late. Believe me.. time is important to me.. and the FALSE CUTS AND SHUFFLES PROJECT was time well spent..

$30.00 ..From dealers who carry the Murphy’s Magic line of products..
https://www.murphysmagic.com/product.aspx?id=53701

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“A great leader doesn’t treat problems as special. He treats them as normal. If you’re working, expect problems. If you’re dealing with family, expect problems. If you’re just minding your own business and trying to relax, expect problems. If everything goes according to plan, then be pleasantly surprised. If it doesn’t, and you’ve planned accordingly, you won’t get so frustrated. A problem not anticipated is a problem. A problem anticipated is an opportunity.”

Al Davis, fformer owner of the Oakland Raiders football team..

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The Vault – CHINK-A-CHINK Elements by Patricio Terán
Review by Rick Carruth

If you enjoy Matrix effects, or wish you could perform Matrix type effects, Chink-a-Chink may be just what you need.. Here is the Ad copy:

“The best Matrix I have ever seen! I thought my eyes were malfunctioning.”
– Richard Sanders

After ten years of keeping his routines underground, Patricio Terán, the Matrix specialist, brings you his legendary handlings of the Chink-a-Chink plot.

You will learn three wonderful routines, complete with all of the subtle elements that will transform your Matrix into a miracle.

These incredible effects are explained step by step with the best quality video and the best possible teacher.

If you have ever wanted to do a hyper visual Matrix with 4 different objects, download this today!

My Thoughts:

From Wikipedia, the free encyclopedia –
“A magician performs the “chink-a-chink” coin trick, having started from a square of four coins. Chink-a-chink is a simple close-up magic trick in which a variety of small objects, usually four, appear to magically transport themselves from location to location when covered by the performer’s hands, until the items end up gathered together in the same place. Variations, especially the Sympathetic Coins, have been performed since the 1800s.”

“Sean McWeeney, the author of the first dedicated e-book on Chink-a-Chink, has a history dating back to at least early/mid-19th-century Germany. The trick was famously covered in Edwin Sach’s seminal book Sleight of Hand in 1877, utilizing four sugar cubes. Max Malini, who popularized the trick in the early 20th century, using cut-down wine corks, is generally credited with naming the trick. Doug Henning performed Chink-a-Chink on television in the early 1970s, using seashells.”

Many magicians, popular magicians, have performed this effect using a variety of objects. Anything concealable by the palm of the hand has been fair game. In recent years Chink -a- Chink morphed into the Matrix effect, using playing cards instead of the palm. That said.. this video download is about the classic effect.

I have to first say I prefer the classic Clink-a-Clink to the Matrix. Why? There is no lifting of objects beneath the palm as opposed to lifting coins beneath the transfer of a card. All the transportations involve covering objects with the palm and sliding them from one position to another. This is, to me at least, much easier to master than the latter.

This “The Vault” download was produced by Nacho Mancilla. Honestly, I don’t know a lot about Nacho other than he has published a couple of other effects under his name.. UP SLOW and REFRACTION. After the initial intro, Nacho turns everything over to Patricio Terán, a serious Matrix master from Chile.

Due to the language barrier, the entire effects portion of the video is performed to some excellent chill music. Thankfully, everything you need to know can be taught without words. There are camera angles from both forward and rear positions, giving you multiple views of the same move. The video itself is just over 30 minutes, and is more than long enough to teach all the moves. Both sound and video are fine. I have no problem with the production qualities, and they are precisely what I would expect for the cost and subject. There wasn’t a credit at the end of the video, so I can’t comment on equipment.. only on what I saw. So, if you’re one of ‘those’.. I can’t help you.. Sorry!

The three effects were inspired by Mott-Sun, Takahiro, Daniel Garcia, Al Schneider, and others..

FANTASY: This is a very enticing, very visual effect that, due to the simultaneous movement, makes it darn near impossible to solve. The spectator is left pondering, I was left pondering, and most of the dirty work is the result of a gimmick.
FANTASY uses four half dollars and a change purse.. (well.. maybe slightly more than four). This was similar to the traditional Matrix many of you are familiar with, but uses the palms instead of cards. Again, my preference. This effect reminded me of another effect I recently reviewed.. “Z Matrix.. an effect by Ziv”, in that a gimmick is required. You will need a clear acrylic sheet, not hard to find, a pair of scissors, and some double stick tape. Although I don’t like constructing gimmicks, this one isn’t hard to make. It makes a couple of the moves possible. You also need a Servante. The video teaches how Patricio and Nacho make theirs, which is a very simple open-top savante, stuck to the inner edge of the table. You could probably lap if you didn’t want to purchase or make a savante. You WILL like this effect…. and it’s not overly hard to learn or perform, once you learn the moves.

METAMORPH MIX: This is a true Clink-a-Clink effect. You use a half dollar, a key, a ring, and a Chinese coin. Again, Patricio performs what appears to be a series of complex vanishes and switches, most achievable once the moves are memorized. This is not only a joy to watch, but would be a joy for you to perform. Like FANTASY, it’s next to impossible for the audience to figure out. Too much going on… Dai would love this one.

ELEMENTS: Quick effect similar to the above. This uses a few less moves, but the same tokens. This is a great place to start and a good point to get your feel for what’s going on.

Honestly, my best advice is – go to the Murphy’s Magic link and watch the demo video. I’m a visual guy myself, and this will give you a good idea of what you’ll learn, plus the FANTASY effect, which is not on the demo. I sincerely hope you’ll consider buying this download. I think you’ll really enjoy performing this for your friends, fellow magicians, and your audience. There’s no doubt they’ll see you in a different light, a good light, and you don’t have to tell them you learned it all from a nineteen dollar video…

$19.95.. From Murphy’s Magic and their fellow customers.
https://www.murphysmagic.com/product.aspx?id=63415

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VISTA PRINT – My ‘Go To’ Guys for Business Cards

This is where I buy my business cards.. always. They usually run a 500 for $10.00 special, but I prefer to pay $17.00 and get cards that are really thick. They survive being carried in my pocket much better than the thinner cards. I have also purchased postcard-size cards to give away at conventions if I had a table. They always make a good first impression. You CANNOT have too much advertising.. but you can definitely have Too Little…

http://reward.vistaprint.com/go.axd?ref=D5KT0M

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The Vault – The Endless Chain – A Review
L&L Publishing and The World’s Greatest Magic
Review by Rick Carruth

Johnny Thompson, Bobby Bernard, and Phil Matlin teach this magic standard. If you aren’t familiar with this magical con, or if you need tips from three consummate professionals, read on… The Ad Copy reads:

Something Totally Different!

The underground con game known as the Endless Chain has its roots in an old gypsy swindle from the 1500s called “Pricking the Garter.” It was subsequently adopted by magicians in the 1800s and has been used to delight, captivate – and humorously frustrate – audiences to this day.

In this video, you’ll meet three different performers who each take a turn at demonstrating this classic scam. Johnny Thompson leads off with a three-phase routine coupled with a very funny kicker ending while providing additional moves and subtleties in the explanation segment. The UK’s Bobby Bernard also demonstrates and teaches a three-phase routine but also supplies an ending that can add a bit of magic to the effect. Finally, Canada’s Phil Matlin performs a three-phase routine with a pseudo-explanation segment that brings his version to a very satisfying end.

Audiences are enchanted by tales of con men and swindlers and with the help of the world-class performers featured here, you’ll be able to add a routine to your show that is not only inherently interesting, but is something that your spectators are unlikely to have ever seen before.

Download the video and learn this today!

My Thoughts:

Although I’ve seen The Endless Chain performed numerous times by both professional and amateur magicians, I can honestly say I’ve never tried to learn it or perform it… in part because it seemed too easy for the audience to surmise its performance. Although the audience would be wrong, without the finesse taught by Johnny Thompson and friends, I didn’t realize I, too, was wrong with my silly assumptions.

For those of you not familiar with The Endless Chain.. The magician introduces the audience to a fairly long loop chain. The chain is quickly manipulated into a figure eight and an audience member is asked to place his/her finger inside one of the loops formed by the eight. The magician pulls the chain, and if it ‘catches’ around the spectator’s finger, the spectator wins. If the chain doesn’t catch on the finger and comes free.. the magician wins. It is a betting move, and it is a con.. The spectator only wins when the magician wants him to win..

After a series of bets, the magician is confirmed King of The World.. and the effect is over.

Unless you learned from Johnny Thompson… He adds one final move that seems impossible for the spectator to lose.. but he does. (See video below)

This move made the video worth the cost.. to me. It transformed The Endless Chain from a ‘cute’ little trick into a mystery. Suddenly, I could see the possibilities.. and I could see why a magician would devote six or more performance minutes to this innocuous little scam. It went from a ‘trick’ to a ‘performance’.

Each of the performers added something personal to the effect, but it was Johnny’s performance that stood out to me. The download is just over thirty minutes and is typical L&L production values… Nothing earth-shattering.. and nothing distracting. Although this is a
re-introduction of a World’s Greatest Magic selection, it’s timely, with the interest in gambling sleights/demonstrations and the recent passing of Johnny Thompson.

All you need to perform this effect is an inexpensive chain somewhere between 36 to 48 inches, and an afternoon’s practice. It’s not difficult to learn, just a few timely twists, and can be performed with something like para cord or thick string to get you going. I recommend the chain when in front of an audience, partly because of the ‘flash’ and the visual quality.. making it much easier to see from a distance.

The Endless Chain is very similar to, performance wise, 3 Card Monte. If you perform, or want to perform, 3 Card Monte because of its gambling qualities.. The Endless Chain is the perfect addition to your routine. It’s much easier to learn, for sure, but establishes the same persona of a skilled gambler -if- you learn the Johnny Thompson method.

This is definitely something I will add to my repertoire.. I recommend you guys do the same.. If you aren’t familiar with the Endless Chain, check out the video on Murphy’s Magic site..

$14.95.. From Murphy’s Magic and their associate dealers…

https://www.murphysmagic.com/product.aspx?id=64038

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Video of Johnny Thompson performing his entire routine. This is the routine taught on this video. Don’t you LOVE the final move?

https://youtu.be/0CpYaa8_HMs

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The Vault – Phosphorus by Victor Sanz
Review by Rick Carruth

Quick pocket trick download from Victor Sanz and Murphy’s Magic.. Here’s the ad copy:

Find the spectator’s match without looking — in only one second!

Victor Sanz shares his brilliant new interactive close-up miracle. A spectator picks a matchstick out of many and signs their name on it. They then put the signed match back in the box with the others and shake them all up. The magician takes the box back and, in one second, produces the signed lit match!

Everything can be examined before and after the effect. Make the gimmick in less than 5 minutes. Easy to perform.

My Thoughts..

Victor Sanz is another creative mind from Spain, home to some of the most creative magic on the planet. Victor is also the creator of Self-Flipping Note Pad, Contrasts, Vibrate and Revolver, among other effects.

As a fellow who has a fondness for walk-around, I’m always glad to find a quick trick I can add to my repertoire. This effect from Victor Sanz can, literally, be carried in a matchbox.. and doesn’t require much to learn. I think most of you will find this an attractive addition.

The effect performs like the ad copy. Aside from a small gimmick, everything works as advertised, and the learning curve is minimal. The magi shows a spectator a wooden matchbox full of matches. The spectator is allowed to pick a match and mark it to be easily recognized later. The magi partially inserts the match into the box and the spectator pushes the match the remainder of the way in and closes the box. The spectator shakes the box to thoroughly mix the matches. The box is returned to the magi who.. with only a very slight pause.. places the box behind his back with one hand – as the other hand brings a lit match from behind the magi, lit..

It’s the spectator’s match.

It’s not exactly like vanishing the Statue of Liberty.. but it’s a nice, quick effect that creates a mystery. You do have to create a small gimmick to make the effect work. As this is a download, you get to make the gimmick with thoughtful instructions from Victor. It only requires something you probably have around the house, plus a pair of scissors, and about 4 or 5 minutes. Everyone knows my dislike of DIY effects, but this is admittedly simple to make…

The download is typical Murphy’s Magic quality. The effect is taught with subtitles. As the effect is not very complicated, this wasn’t a problem for me. They could have taught everything sans subtitles and I think you would still understand everything you need to know. The video runs 33 minutes with several minutes performance mode.

I would recommend PHOSPHORUS to anyone with ten bucks and a desire to add a little something-something to their routine. It’s a quickie, easy to perform, and a great little effect for those of you who love to play with fire…

$10.00 at Murphy’s Magic and their affiliated magic dealers…
https://www.murphysmagic.com/product.aspx?id=64658

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Watch: The 11 Best Tricks From ‘Penn & Teller: Fool Us’ – Videos
By Thor Jensen for GEEK.com

One thing that unites geeks around the world is that we love to solve problems. Our hyper-flexible minds latch on to challenge, whether it be in a video game, with a tricky Lego build or programming an app. That’s why one of the most lowkey brain-bending shows on TV is Penn & Teller: Fool Us, starting its sixth season on Monday, June 17, on the CW.

If you haven’t watched it, the premise is simple: guest magicians show a trick to the duo, who then have to figure out how it’s done without telling the viewing audience. Even if you don’t dig illusions, it’ll have your mind racing looking for the methods behind the magic. The show has a bunch of people putting clips up on YouTube, so we wanted to share our 11 favorite acts from previous seasons.

Watch: The 11 Best Tricks From ‘Penn & Teller: Fool Us’

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Do Super Easy ‘Torn Page’ Magic Trick – Video Tutorial

Jay Sankey does a bit of stickman magic with a small note pad. It’s not completely ‘sleightless’.. but the moves are really easy and you can perform them with confidence. I haven’t published anything from Jay in some time, so I was glad to run across this nice tutorial… about 15 minutes in length.

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Card Portal Pop Out – Video Tutorial Featuring Shin Lim

Great way to reveal a card in a sandwich effect. It appears you are holding two cards.. and suddenly a third card flies from the middle with no obvious effort on your part. Featuring Shin Lim and Nic Suriano…

http://magicblog.org

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Card Tricks With Willie (Nelson) – Video

Willie performs the infamous Sam The Bellhop effect… Cool !

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How to Solve a Magic Square -Tutorial

This arithmetical stunt is not difficult when you know how, says Jason England.

Magicians often include acts that are not strictly magic, but leave their audiences feeling that they have witnessed something impossible. Memory stunts, unusual scientific demonstrations, playing chess blindfolded and rapid mental mathematics are some examples.

Successful stunts of this kind suggest the performer has an enhanced talent. In some cases, this is true – they may have an extraordinary memory or be a chess grandmaster. But in most cases the performer is using a system. These systems can be simple, or can require tremendous skill – but they are still easier than doing the stunt without any system at all.

A popular mathematical stunt is to create a “magic square”. This is a grid, most commonly 3×3 or 4×4, filled with numbers. The numbers in every row add up to the same number.

Making a magic square before an audience, if done properly, can be an impressive demonstration of one’s apparent command of higher-level mathematics. I’ll show you how to do this, using a seemingly more difficult 4×4 grid… READ MORE (Text and Pics)

https://cosmosmagazine.com/mathematics/how-solve-magic-square

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Ten Tricks With Rubber Bands – Video Tutorial
Rich Ferguson

Helpful tutorial by Rich with ten convincing effects. These are not all simple-appearing effects. Some are effects I’m sure a few of you have paid money to learn. My MagicMysteries.org site makes sure you get it au gratis… Enjoy!

http://www.magicmysteries.org/2019/04/10-tricks-with-rubber-bands-tutorial.html

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Wait! – Last minute addition…

Our friend, Steve Drury, notified me a few days ago of the release of his master work on Dice.. Haven’t had time to get my hands on it.. but I’m betting it’s going to become THE book on anything related to Dice…

Dice Mysteries – By Steve Drury

Dice Mysteries is a study into the world of dice aimed as a resource for the mystery – psychic entertainer. As a hardbound, dust-jacket covered book – it runs at over 580 pages !

It initially delves into its journey from the shaman to the layman, then through history into its roles in society, religion and science, including various cultural and indigenous perspectives. Many types of dice are reviewed, alongside their varied uses, from reading systems to gambling and cheating plus performance applications and routines.

Steve Drury’s own ideas are included throughout, plus there are varied supporting contributions from: Les Cross, Richard Webster, Stephen Ball, David Berglas, Lior Manor, Mark Chandaue, Richard Osterlind, Ronald J. Dayton, Pablo Amira, Docc Hilford, T.C.Tahoe, Seamus Maguire, Dale Hildebrandt, Danny Proctor, Kenton Knepper, Craig Conley, Steve Cook, Scott St Clair, Neal Scryer, Jackie McClements, Cara Hamilton, Vito Gattullo and Sudo.

http://www.lulu.com/shop/steve-drury/dice-mysteries/hardcover/product-24128534.html

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If you have anything to do today.. STAY AWAY FROM THIS SITE!

https://www.wimp.com/

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That does it for this issue. I hope you found something to help your magic along. Remember, if you have something you would like to see published on the Magic Roadshow site.. send it to: TheMagicRoadshow@gmail.com

Be Blessed!
Rick Carruth / Editor

Professor – Camelard College of Conjuring of Chemmis, Egypt
http://www.camelardcollege.org/

“The most beautiful thing we can experience is the mysterious. It is the source of all true art and all science.”
Albert Einstein